Luis Milán

Fantasía 20, del sexto tono


El Maestro (1536), fol. F3v


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Source title En esta fantasia passada aueys visto por donde podeys tañer el quinto tono en la vihuela. y por estos terminos mismos se puede tañer tambien el sexto tono. Esta fantasia que agora se sigue es del sexto tono.el qual le he mudado por otra parte en la vihuela para que sepays que tambien se puede tañer el sexto y quinto tonos por los terminos que esta p[re]sente fantasia anda.
Title in contents  
Text incipit


Category abstract

Genre fantasia

Fantasia type ImP

Mode 6

Voices 4

Length (compases) 214


Tuning A

Courses 6

Final VI/1

Highest I/8

Lowest VI/1

Difficulty not specified

Tempo not specified

Song Text


Vocal notation


Fantasia in quasi-imitative polythematic style. It is an important example that shows the positive infiltration of motet-compositional thinking into Milán’s style. Embryonic work pointing to mid-c entury style. Some analytical difficulties through foreshadowing, cliches, and free or extraneous material (picturesque) interrupting the narrative progression. The analysis below is based on intensity curves for sectionalization, not on the treatment of melodies or motives.
Compositional form: 1 formulae utilized “recipes”; eg. imitative use of motives >> stretto or sequence towards K, or introduction of new motive in section to head towards K in opposite melodic direction, etc.
Long work. Metres: [¢] - ¢3 - ¢ - C• - ¢ -- Much use of voice pairs and internal phrase repetition.