The title of this work declares it a “Fantasia on la, sol, fa, re, mi, in three voices for those who are beginning to play, and it has to be played slowly.” It is the first of the two fantasias in the first book of Pisador’s Libro. It is an ostinato fantasia based on the theme la sol fa re mi (A–G–F–D–E). The two fantasias in the first book serve as pieces for beginners, and show each of the two principal fantasia types in Pisador’s book: ostinato and polythematic fantasias.

Structurally the fantasia is sound, but has far less aural interest. Musically, the work sounds inadequate and somewhat awkward. Theme 1 is introduced canonically with an interesting interplay between B & T, in fact preceding the entry of the 2nd voice. From c. 11-31 there are several entries of the theme in all voices in a rather amorphous loose setting. Following the cadences at c. 31 there is another set of entries followed by a tight alternating string of B & S entries. At c. 81 a second theme somewhat angular? is introduced and is treated to several sets of entries. A reiteration of theme 1 in Bass serves as Coda. Scheme: A A’ B B’ a.

Weaknesses occur principally through lack of contrapuntal finesse, lack of tonal delineation and planning through the avoidance of cadences. Many intended cadences don’t function properly; there is no deviation from the central harmonic area except a cadence on C between B1 & B2, and two appearances of the ostinato transposed to B. There are several appearances of the theme on E. The imitative section from c. 81 to the end is the best part, including a fairly uncommon use of thematic diminution. The opening underlines the problems of canon at the unison

The mode of the piece appears to be on A with B-natural throughout, seemingly Mode 1 transposed by a fifth.