Diferencias sobre 'El Canto Llano del Caballero'

Antonio de Cabezón (1510 – 1566) was a Spanish Renaissance composer and organist. Blind from childhood, he quickly rose to prominence as a performer and was eventually employed by the royal family. He was among the most important composers of his time and the first major Iberian keyboard composer. Nine sets of variations (in Spanish tradition called discantes, diferencias, or glosas) are included in Obras de musica. Cabezón's variations are one of the earliest high points of the genre, and presumably influenced English composers such as Thomas Tallis and William Byrd. All of the variation sets begin with the first variation, assuming the theme is already known to the listener, and connects individual variations using free transitions, thus frequently making analysis of the structure complicated. Cabezón uses numerous techniques, such as a migrating and/or heavily ornamented cantus firmus. The models are taken from popular Spanish songs, dance forms, and established melodic-harmonic frameworks.
(source: Wikipedia)

I picked the variations on 'El Canto (Llano) del Caballero' (about a Cavalier, obviously). I only used two stops, to keep it simple and also because the variations flow into eachother, so it's not obvious to change registrations often.