Rubric: “Book Three of Fantasias in all of the modes on ostinato themes in both four as well as three voices, and the voice in red is to be sung. The C clef is on the third [course] at the third fret, and there are others without ostinato themes.” This rubric is, of course, the introduction to entire book of fantasias, twenty-four in total.

Fantasia 3 is a monothematic composition on la fa sol la re mi re (A–F–G–A–D–E–D). As the opening work of Book Three, this fantasia distinguishes itself as a competent, interesting and varied work. The treatment of the theme is as imitative polyphony throughout. The work is divisible into sections of varied texture and density of thematic entries/occurrences. A couple of secondary motives add interest. Some minor blemishes include a couple of awkward cadences, and some false voice loading. There is sufficient variety in the patterns cadences to avoid monotony. A number of thematic entries (few) are only partial. The theme occurs in a number of rhythmic dispositions, starting on both A & E. A couple of minor points of imitation of secondary material occur, e.g. c. 57-61 in A & T. The head of theme 2 appears again in B in 67-69, and 115.

Five main variants of cantus firmus are used, 1a-e. 1a, 1b and 1d have notes reiterated, whereas 1c+e do not, but have different pitches on strong beats. 1d is only used in voice pairing. 1a only in the opening section.

[Bars in the following diagram are according to my own transcription in 4/4 with note values halved and the two compases in each bar.]