|Source title||Fantasia por el tercero tono, señalase la claue de Fefaut en la quinta en tercero traste. F[acil]|
|Title in contents||Fantasia por el tercero tono|
Fantasia type Imp
Length (compases) 101
Tempo not specified
Vocal notation puntillos
Polythematic imitative fantasia in mode 3. Typical of Daza’s style.
Six thematically defined episodes (bar nos. from Griffiths1982).
• In episodes I and II the Soprano doesn’t get a full thematic statement. Themes 1a+b differ only in duration of first note; the longer one being broader more commanding and more suitable for a first theme; beginning on a strong beat. The first section is thus quite long as both themes are fully introduced in all voices.
• Episodes III + IV can be taken as one. Theme 4 is an inversion of 3. Theme 3 has a skeleton quite similar to theme 1 of Daza’s Fantasia 1. Themes 2 + 6 are also very similar. Their main difference is their respective tonalities: 2 is transposed to “C major”.
• General thematic cohesion is from ascending 4ths and 5th at beginnings of themes and subsequent falling thirds although inverted in episode 3 and altered in episode V ( = compass = rising fifth with initial rising third).
• Theme 4 is the inversion of 3. Similarly, theme 1a is an alteration of 1b, in tonal terms. Significance tonally comes from the second note.
• Themes 5 and 6 both enter through dovetailing with the preceding themes.
• There is cohesion between themes 3, 4 and 5 through the shared rhythm of dotted crotchet–quaver–crotchet that addes to the general cohesiveness of the piece.
• Cadences at section ends: // 1a E; 1b C; //2 A // 3 E // 4 a // 5 E // 6 E. Cadence on C at end of episode 1 conforms with the modal dominant. Other cadences on A are typical of the ambiguity in mode 3 usage at the time.
• Repetition of material. 41-43 = 49–51, (cadential formula).