Monothematic fantasia on the given theme, but with some sub-themes. By choosing an attractive theme, and limiting himself to a three-voice texture, Pisador has created one of this most beautiful and successfui fantasias. He has shown some thought and insight, and manipulated his materials with dexterity. Thematic use in not as indiscriminate as in many of his fantasias. Using the criterion of thematic treatment, the 62 bar work divides exactly in half at bar 31. Then again, the second half divides exactly in half again (at 45.2). The first half is characterised by quite constant imitative use of the cantus firmus, altyhough no complete statement occurs until bar 5. Prior to that only head motives are given as B/S. K on A at bar 31. The second half reveals use of subsidiary themes. Bars 31-45 shows theme 2 used as a voice pair with the main theme which itself is lengthenened by being given twice or thrice with the last note acting as a pivot. This section is plotted in the diagram attached.
The final section, firstly, has no theme 1 statement in S. It begins with interlocking B statements of theme 1 with 3 imitated S-T >> K(49 on E) >> Theme 3 sequence in S >> Theme 1 x 3 in T with theme 1b in B >> with mod. 1 in S with mod.2 in B >> B statement as K. Diagram from b.53 to end. Good conclusion. Theme begins fon E, A, B, G.