Parody fantasia. Quite long 144 compases. The Basse Dance model is unidentified, but comparison shows it to be probably the same one as used by Valderrábano in No86 “sobre el tenor de la baxa”. It relates in two ways: Va86 tenor begins G E f# G or I IV V I in G so does 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 it really sounds like a basse dance in style, 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. Textures like 61-72 are very dance-like. Theme 3 is imitated from 72, the only piece of through 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.
There is some similarity, quite marked between the beginning of this work and Narváez’s “baja de contrapunto”.

cf Baxa de Contrapunto de Narváez