Alonso Mudarra

Fantasía 05, fácil


Tres libros de música en cifra (1546), fol. I/5


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Source title Fantasia facil
Title in contents   Otra fantasia facil
Text incipit


Category abstract

Genre fantasia

Fantasia type ImP

Mode 6

Voices 3

Length (compases) 73


Tuning G

Courses 6

Final IV/0

Highest I/5

Lowest VI/0

Difficulty easy

Tempo medium

Song Text


Vocal notation


A work of easy execution from a clearly vocal inspiration although the second half is worked out in a more instrumental manner. There is a high level of pure inventive fantasy therefore sectional division by cadences seems more appropriate than by the themes which act as a springboard for invention. Cohesion & unity in overall terms comes from the descending melodic direction of all principal themes and many secondary ones.

The existing modern editions have serious voice-leading problems. Pujol sees the work as a4 – but there is no place where four voices are operative. He attempts to abstract the work into more of a vocal mould than Mudarra conceived it. The Mönkemeyer edition has no real logic behind it – just expediency and neatness of notation.

The main structural sections (bar numbers = compas) are as follows:
I 1-24
Section I enters as 3 part imitation and actually concludes at 12 but momentum doesn’t allow a pause. Free polyphony [Semi] with long descending melody beginning on C in T & S [14ff & 18ff] with repeated cadential fig. in bass [16-19] & [21-24] --> no actual imitation but free imitation based on downward movement of previous theme. With the beginning of 2nd section comes a shift in mode from the 6th to 1st mode.

II 24-39
Section II works with a short descending motive exposed: STBT (cadence) STB. The harmonic expectation of the final cadence is avoided by keeping the bass descending to Bb from C instead of up to F.

III 39-53
Section III seems to be an interlude rather than a forward – looking section. Seems to begin in triple time (within the duple notation) with slight suggestion of imitative canon then breaking into S dominated redouble then into free counterpoint over a bass melody 45-50.
Thereafter-cadence preparation.

IV 53-73.
A short motive in last section enters regularly every 2 compases until 64. It is then extended by addition to its head and receives 2 entries before the final close of the work. The technique of bridging section 3&4 is clever by introducing in the Bass the skeleton of the motive across the cadence & successively interlocking it with itself in the bass.

Song Text

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