Rubric: “This fantasia is on the opening of a basse danse. Play it according to the tempo [indication]. It is a mixed mode. Second grade [of difficulty].” Even though normally parody fantasias are those based on vocal polyphony, the fact that this fantasia is based on pre-existing material allows it also to be classified in the same group, even if somewhat awkardly. The basse dance model is unidentified, but comparison shows it to be probably the same one as used by Valderrábano in his “Contrapunto sobre el tenor de la baja” for two vihuelas (va085) and connected to Narváez’s “Baxa de contrapunto” (na034). It relates in two ways: The tenor of va085 begins G E f# G or (a I-IV-V-I progression in G) as in this work in S (1-4); in T (6-8); in S (9-11) and (54-57). A descending motive with rhythm M. Sm | Sm Sm M | also prevails in both. The basse dance parody fantasia differs from many of Valderrábano’s others in that its sound is suggestive of a basse dance, without the cantus firmus. The rhythms based on dotted figures, short notes, quick tempo and through-composed superius give this. The work is motivic, and in this sense there is all-pervasive imitation of several melodic cells without any major exhibitions of imitative counterpoint for its own sake. The use of clear-cut cadences where desired and long cadence-less phrases gives also more of the dance spirit. These phrases are somewhat archaic sounding even for Valderrábano’s time. The textures (e.g. compases 61-72) are very dance-like. Theme 3 is imitated from 72, the only piece of full imitation in the work. Theme 1 is the main motive and makes numerous reappearances during the piece. The work seems to make a varied repeat of its opening at 53ff, culminating in the dance texture, followed by the theme three imitations.