Polythematic fantasia in 5 sections: I (1-30) II (28-47) III (44-92) IV (92-110) V (110-127)
Up to a point, it follows Fuenllana’s pattern of structures but has some marked individual differences: II is based on an ostinato, III is very long, IV is non imitative. V which is usually a Coda is imitative.
Themes
Themes 1 & 3 share descending 3rd interval. Themes 2 + 4 have similar beginning. The piece finishes on a major triad. It is not a difficult piece to play. Theme 1 is highly individual and lyrical, and is unusually long. Theme 2 is little more than a 4 note cadential formula. 3-typical theme type, 4 also typical length arched shape. Note the long interlocking of 1a-1b-2-3. The cadential part of each theme introduces it long before the section cadences – 2 or 3 bars.
Structure
Summary: I – broad and imitative; II tighter ostinato; III broadens; IV free-broader; V tightens up, but peaceful ending. Bb used throughout in mode 1.
In more detail:
I. Theme exposed STB. Cadence D. Ib = theme shortened TBS. Cadence G.
II. Theme 2 (B) preempts cadence, then in S with little C.Q C (dotted crotchet quaver crotchet) imitation as passing interest. Section proceeds quickly by the short cadential theme. Last statement of w comes after III has properly begun. 2 is used as an ostinato and only in S & B.
III – the longest most varied section. Not canonic in the proper sense apart from the 1st set of entries at 50. Thereafter several little imitations occur in close relation between TS but B usually sounds on its own.
IV is a free section whose organization seems to be textural (minim melody in S with parallel 3rds in TB, followed by tight 2 crotchet rhythmic/canonic interplay >> cadence) twice V begins with a three bar segment, repeated holus bolus with theme on top a la Milán, with B imitation. Thereafter S canon >> B statement of theme 2 and final & statement of 4 is the final cadence. III & V end with plagal cadence. A rare cadential formula occurs 3 times in III & IV. Strange false relations in b.22.