Mode: OnA with B-natural throughout = Dorian transposed?

Ostinato fantasia on above cantus firmus. The first in Pisador’s book. Together with No 14, serve for beginners. Slow tempo. Structurally the fantasia is sound, but has far less aural interest. Musically the whole sounds inadequate and somewhat awkward. [bars = my trans]. Theme 1 is introduced canonically with an interesting interplay between B & T actually preceding the entry of the 2nd voice. From 5-15 there are several entries of the theme in all voices in a rather amorphous loose setting. Following the cadences at 15 there is another set of entries followed by a tight alternating string of B & S entries. At 40 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 central harmonic area except a cadence on C between B1 & B2, and two appearances of the ostinato transposed to B. There are several on e. The imitative section from 40 to the end is the best part (includes fairly uncommon use of thematic diminution). The opening underlines the problems of canon at the unison.