Aguilera de Heredia, and Bruna. Tiento de lleno: The opposite of the tiento de medio registro; a tiento played on one sound (full register). Tiento de falsas: A tiento making frequent use of dissonance, so as to achieve particularly dramatic effect. "Falsas" refers to "false notes," or dissonant tones not part of the current mode or key. It is similar to the Italian idea of Durezze e ligature (consonance and dissonance). Tiento pleno: an irregular tiento consisting of three sections: a prelude, fugue, and postlude. It has more in common with the German praeludium than with other tientos. Composers Antonio de Cabezón (1510–1566) António Carreira (ca. 1520/30– fl. 1587/97) Bernardo Clavijo de Castillo (1545–1626) Manuel Rodrigues Coelho (1555–1635) Sebastián Aguilera de Heredia (1561–1627) Francisco de Peraza (1564–1598) Gaspar Fernandes (1566–1629) Estacio de Lacerna (ca. 1570–after 1616) Francisco Correa de Arauxo (1584–1654) José Ximénez (1601–1672) José Perandreu (fl. mid–17th century) Pablo Bruna (1611–1679) Juan Cabanilles (1644–1712) Contemporary composers Jean Langlais (1907–1991): includes a tiento as movement 2 of his Suite Médiévale (1947) Maurice Ohana (1913–1992): composed a Tiento for guitar (1957) Benet Casablancas (1956) has recently (2012) written a Tiento for organ based on the Lutheran chorale Frisch auf, mein' Seel', verzage nichte a part of the Orgelbüchlein Project. Carlotta Ferrari (1975) has published three Tientos for Organ: Tiento de lleno, Tiento de falsas and Tiento de batalla (IMSLP 2015). Notes References Willi Apel. The History of Keyboard Music to 1700. Translated by Hans Tischler. Indiana University Press, 1972. . Originally published as Geschichte der Orgel- und Klaviermusik bis 1700 by Bärenreiter-Verlag, Kassel. Renaissance music Spanish dances Spanish music