Four-voiced imitative fantasia in mode 6.A very typical example of Daza’s style. Iit is mitative in four voices. Sectional on thematic basis – and therefore on procedure. It is built from 4 episodes or sections (barring is from Griffhs edition)
I 1-15
II 15-21
III 21-32
IV 32-40
In the same way as Gombosi has analysed form in Francesco da Milano, the sections III+IV of this work can be labeled I’ + II’ on a number of grounds: Thematic shape, patterns of the entry of voices, section length, and tonality.
The work is therefore bipartite. Themes 1 & 3, belonging to I & III are longer and of narrower range with stepwise motion and some 3rds. Themes 2 and 4 belonging to the other sections, are motivic themes. N.B. alternate similar themes: see Da2.
Entries sections (I) & (III) both expose theme in paired imitation S/A then T/B. Perfect parallel situation. Both sections have more than 4 thematic statements, both because of an irregularity in the first soprano entry. In (I) this is because it has been abbreviated, and in (III) its is due to the inversion of S and A throughout the exposition of the themes. Soprano then pops up to assert itself. In both cases it is for a dramatic purpose and contrary to expectations.
Length I+III are longer sections than II+IV. The end of II (at 21) marks nearly the precise mid-point of the work.
Tonality Sections I + III begin in F proceeding to C and then back to F by the alternate sections.
Whether sub-consciously contrived or not, the result is clear that Daza’s work is definitely form-conscious and not just episodic with no consideration for the whole. Surely he must have composed these works and not merely improvised them – hence formal awareness.
The falling 3rd is significant in themes 1-3.