Esteban Daza

Fantasía [12] por el octavo tono


El Parnaso (1576), fol. 16v


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Source title Fantasia a 3. por el octauo tono, señalase la claue de Fefaut en la quarta en vacio. F[acil]
Title in contents   Fantasia a tres, por el octauo tono
Text incipit


Category abstract

Genre fantasia

Fantasia type Imp

Mode 8

Voices 3

Length (compases) 90


Tuning G

Courses 6

Final VI/0

Highest I/9

Lowest VI/0

Difficulty easy

Tempo not specified

Song Text


Vocal notation puntillos


Polythematic imitative fantasia in 4 balanced episodes.

Analysis: Four distinct episodes: each with one imitative theme (bar nos from Griffiths 1982)
(1) 1-13
(2) 13-25
(3) 25-34
(4) 34-41/42 plus Coda 42-46.

Themes are typical. All begin on a weak beat, are short, and have strong harmonic implications.
• Episode one: 3 sets of entries with clear ornamented cadential separation: 1st T/S, B second entries: closer together, T goes higher; 3rd only T – cadential going higher. More chordal. Eb between 2nd and 3rd parts. Lingering on C chord with redobles. Each set of entries builds tension. Conscious – all three begin on same pitch, with different eventual outcomes. Second theme also begins on the same pitch. Expectations important. Sections of 1st theme gradually reduce in length 5 bars, 4 bars, 3 bars. The link between sections I & II is shown.
• Episode II is similar in planning to section 1, but not boring. It is virtually the same length, but the first main decorated cadence occurs before the 3rd set of entries, the second is a dramatic low. First entries begin as section I ST B. Cadential movement is avoided by bringing in S as a canon at very low pitch, and a 4-3 sus. on “tonic” averts rest. T makes second entry finishing on strong cadence. A three part canon at 2 x Crotchet distance drives to final cadence of section. A downward C. Q C (dotted crotchet quaver crotchet) counter idea gains prominence within section cf Coda.
• Episode III begins also on G-T entry. 3 parts equally spaced TBS to strong cadence. S enters and plays theme variant, building high intensity (highest pitch of piece) with B playing condensed theme, and T free accomp. Redoble reduces tension to begin new theme at low intensity.
• Episode IV begins unlike earlier sections pitchwise, but with ST then B. Then S reenters as in II, T follows repeating duo at same interval but with bass joining in, in close canon to T. Cadences in 41, K begins with more Quaver movement than before for 2 bars, then S, T canon sub theme to bring final cadence with bass fulfilling a harmonic role. No strong cadence in IV except to introduce K.