Beautifully eloquent fantasia of the shorter kind that fill Narváez’s Libro 2. Tempo indication = algo apriessa. The term “por ge sol ret ut” implies a transposition, then Gammant. Mode 1 first transposed.
Four sections: (1) Bars 1-14; (2) 15-22; (3) 22-40; (4) 40-57; repeat of (4) 57-74.
General use of the sequence as a device is great.
(1) Is a duo between Tiple and Alto. Canon at a 5th of Theme 1 and a secondary motif. Section forms one long melody. Theme fills a falling 4th, with a descending 3rd.
(2) Bridge built as a melodic improvisation over a cantus firmus tenor.
(3) New imitative theme. Enters Altus, repeated at the octave in tenor. Continues in free fashion, with 2 hearings of theme of (1) in the Tenor, but gradually developing the motive C. Q C (descending direction) gaining momentum to the cadence at 40 where (4) begins as a blossoming version of the same motive. Starts with sequential canon between Tiple and Alto, interlocking. Then at 46, Tenor introduces a sweeping upward figure (=Th 5) which broadens to the cadence at 57, where the whole section is repeated verbatim. (Repetition is uncommon). Particularly interesting at the end of (4) are the sound illusions created by octave transpositions of parts of the theme in 48-52 and the way the 4th voice emerges from the tenor scale in 53 gaining independence in 54 to strengthen the cadence.
SCHEME (1) Strict canon. (2) Cantus Firmus Bridge. (3) New canon (sadder?) ->> loose ->> gradual development of theme of (4) [1/2 way mark] (4) Shorter note values more exciting, more precise.

Reprinted in:
• Phalèse, Des chansons reduictz en Tablature, fol. c1 (Brown 1546-18, nº 7)