Polythematic imitative fantasia in the seventh mode, the seventh in the initial modal cycle that opens El Parnaso. It is shorter than any of the other works in the cycle, and among all the fantasias. It divides into four sections of similar style and character to his fantasia group. Further details are given in the analysis of the composition.
The work is in 4 sections (bar nos. from Griffiths1982).
I (1-7);
II (6-13)
III (13-15)
IV (15-25)

Other observations:
• The interval of most importance is the descending 3rd.
• Cadential figures (bass and superius) which mark off the sections are typical of Daza’s style.
• Theme lengths themselves are quite short, this being a reflection of the great variety of tails rather than short musical sentences. They stand out as signpost marking the way to a new level of polyphonic activity.
• Theme 1 is introduced SATB and proceeds to the cadence at bar 7 where the anacrusis of theme 2 anticipates the cadential resolution.
• Themes 1 & 2 are similar in their narrow profile – a range of a minor 3rd. • The same SATB entry order is used for the second theme, and rests are used to give this theme the same sort of textural build up as is usual generally in Daza’s openings. The repeated tail of this theme with its individual extension in the superius (7&8) (10&11) is echoed in the Altus. Cadence establishes G as the firm tonic at the end of the section.
• This is followed by a chordal interlude leading to a cadence on D in bar 15. The motive presented sequentially in the tenor during the interlude preempts the arrival of the third theme
• The third theme is used in episode 4, introduced in the Alto, followed by two unison (=8va) pairs of entries in close canon ST, BS. The secondary theme during theme 2 is likely to have been thought of as a precursor to 3, and an across the theme method of unification.
Themes 2+3 are commenced on upbeats which is typical 1st theme is not. Theme 3 is conceived V-I melodically, also quite common.