Fantasia 12 (Meyer no. 14)
Some striking cross-relations and exploiting of ficta conventions, to the point that
harmonic areas are employed to confuse the sense of tonic arrival at the end;
see especially the sudden clearing at m. 45.
From a technical standpoint, this piece exploits idiomatic passages for the Viol—especially rapid leaping figures—in an ensemble atmosphere.
View the complete analysis here *.
Listen to examples† of the motives:
| Motives 1a and 1b: |  | mp3 | wav | Real Audio | wma |
| Motive 2a: |  | mp3 | wav | Real Audio | wma |
| Motive 2b: |  | mp3 | wav | Real Audio | wma |
| Motive 2c: |  | mp3 | wav | Real Audio | wma |
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†Sound clips are from "Alfonso Ferrabosco II: Four-Part Fantasias". CD Recording, Viola da Gamba Society -- New England, 25th Anniversary Project, Sarah Mead, Producer (2002). Reproduced by permission.
†Sound clips are from "Alfonso Ferrabosco II: Four-Part Fantasias". CD Recording, Viola da Gamba Society -- New England, 25th Anniversary Project, Sarah Mead, Producer (2002). Reproduced by permission.