Luis Milán

Fantasía 22, del octavo tono que remeda a las pavanas que tañen en Italia


El Maestro (1536), fol. G2


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Source title Esta fantasía que se sigue es del octavo tono:y ha se de tañer ni muy a espacio ni muy apriessa:sino con vn compas bien mesurado.el ayre della remeda al ayre delas pauanas que tañen en ytalia:que por ser tan aplazible hallareys luego despues desta fantasia seys fantasias que hos pareceran en su ayre y compostura a las mesmas pauanas que en Ytalia se tañen.
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Category abstract

Genre fantasia

Fantasia type Par

Mode 8

Voices 4

Length (compases) 176


Tuning A

Courses 6

Final IV/0

Highest I/7

Lowest VI/3

Difficulty not specified

Tempo medium

Song Text


Vocal notation


This Fantasia is built from material that is presented in the fourth of Milán’s pavanas (mi026). For this reason it has been designated a parody fantasia, although it is also within a polythematic imitative setting. Based on Milán’s 4th Pavana, the theme of which is also used in a Pavane by M. Praetorius. The general style is similar to the fantasias which precede it, except that there is a large scale repetition; thus it could be looked at in dance form thus: [A] = (I, II), [B] (=III, IV), [B] + K. The amount of imitation distinguishes it from Milans other Pavanes as does its length. Thematic interrelationships: 2 bases on 1 (tail); 11 = condensed head motive of 7. The repeated use of theme 1 is also atypical – due to parody. It also has allusions to some military-styled motives, that perhaps link it to the fashion for battle pavanes at about this time.

Song Text

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