Through-composed non-imitative, homophonically oriented fantasia of 177 compases. In style it resembles a non-imitative motet or mass movement, even in its breadth it resembles vocal style. Although it is labeled as being of ‘consonancias’ it is not in any sense a strictly idiomatic chordal study. It proceeds by chords & cadences but these are linked together by many moving voices, but these form no themes other than at a few places where momentary, but non-structural imitations. The only really breathing point in the piece comes at compass 107. A sense of coda begins at 158 with the first of a number of phrases beginning homophonically with rhythm :C C) | C. Q C (i.e. (crotchet, crotchet | dotted crothchet, quaver crotchet) over a V–I harmonic progression. The first part of the pieces in particular gains it breadth from the length of phrases. This is achieved harmonically rather than melodically, through the skillful avoidance of cadential resolution. This occurs two ways: 1) interrupted of cadences, 2) by placing a dissonance within the resolution of cadences which forces movement onwards. Harmonically then, the work has a wealth of interest & ingenuity.
A few motives become prominent, but are not themes by my definition. Those which 1st occur at compas 10 in T; 19 in S; 63 in S and subsequently sequenced; (and 108 in A ?) – less important.