Tiento de Falsas 6' Tono

Juan Bautista José Cabanilles (1644 – 1712) was a Spanish organist and composer at Valencia Cathedral. He is considered by many to have been the greatest Spanish Baroque composer, and has been called the Spanish Bach.
On 15 May 1665, at 20 years of age, he was named the assistant organist of the cathedral. A year later, upon the death of his predecessor, he became the principal organist. On 22 September 1668 he was ordained as a priest. He kept his position as principal organist for 45 years.
Many of Cabanilles's compositions are virtuosic and advanced for their time, but generally, he is in the Spanish tradition of keyboard music following 16th century patterns. Numerous compositions for organ (tientos, toccatas, passacaglias,and other works) have survived, as well as a number of works for choirs of up to 13 parts.

The organ in Santanyi was built in 1762 by Jordi Bosch, after Cabanilles' death. Nevertheless it is built in the old Spanish tradition, so I guess it is also well suited to Cabanilles' works.

This Tiento de Falsas 6 Tono is written for playing on an undivided keyboard.
In a falsa the main component is the creation of discords, that resolve themselves: the accent in the piece should be on the dischord.
There are many other types as well.

According to W.R. Shannon this secular kind of work (Tiento de Llena) should be played on the full organ.

Imo it also sounds best this way: I feel it is somewhat like the Grand Plein Jeu Continue by Boyvin (http://www.contrebombarde.com/concerthall/music/14337) or the middle section of Bach's Piece d'Orgue (http://www.contrebombarde.com/concerthall/music/14320).
Played on 16', 8', 4', and the immense Lleno (25 strong mixture stop) together with the ancient tuning makes for a very strong effect.