Polythematic fantasia in the unusual tuning of F# in order to maximise the efficiency of hand positions for a piece in mode 4.
Five main episodes, in a polythemtic imitative framework. The bars numbering refers to the Griffiths1982
1 (1-9) [Cadence: A];
2 (9-16) [A]
3 (16-26) [A]
4 (26-35) [E]
5 (36-41) [E]

• The episodes can be seen as two periods: I (episodes 1-2) and II (episodes 3-5). There is some symmetry through the cadential materials: codetta [bar 16] and coda [36-41] divide the piece.
• The modal usage tends to emphasize A as a “tonic” until the final two themes [IV&V] – A and E, typical confusion between mode and diatonic tonality. This fantasia is perhaps one of Daza’s most individual it is not merely formulaic.
• The first theme is typical of Daza. It emphasizes 3rd and 4th as intervals. Falling 4th is most important. The treatment of the superius during the course of the entries of the theme shows remarkable allegiance to the opening idea, in typical high Renaissance treatment.
• Extremely good example of Daza’s economic use of material. Short theme of 4 semibreves.
• Episode 2 is tripartite –atypical of Daza. Theme 2a is nothing more than a short motive stated imitatively in each voice. 2b is stated in S/A & T/B pairs, the lower of each pair holding the pedal e. Cadence is taking in passing and a short 1 bar chordal codetta closes the section with a plagal cadence.
• Episode 3 is once again typical style of Daza’s counterpoint although the Alto in bars 24-27 is an ostinato type figure pushing a triple metre against the normal pulse.
• Theme 4 is like the previous theme: imitative and filling in a falling 4th.
• Episode 5 is free counterpoint – again rare for Daza – Descending tiple theme is in style. Climactic – highest pitch of piece. A 5 bar melody is quite long for Daza “rhapsodic”.
• Theme 4 is partially quoted in Bass at the beginning of Episode 5.