Correa's writings make reference to two other publications (a
Libro de versos and a book on music theory), that were not published yet by that time; however, all his surviving works are contained in a single publication entitled
Libro de tientos y discursos de música practica, y theorica de organo intitulado Facultad organica, published in 1626. This publication serves not only as a book of compositions, but as a treatise on music theory and performance practice, and it is one of the most important works of its kind to emerge from Spain in the 17th century. Correa's compositions take advantage of all the devices available to Spanish organists of the time, most notably the
medio registro, or divided keyboard, an innovation unique to the Iberian peninsula which appeared towards the end of the 16th century, while his theoretical writings give great insight into his ideas of
harmony and
counterpoint. The
Libro de tientos contains 69 works, of which 62 are
tientos (that is, fantasias), ordered by increasing levels of difficulty - an indication that the purpose behind this work was at least partly pedagogical. By way of contrast with the works of his Portuguese contemporary,
Coelho, Correa's works are considerably shorter and show a stronger tendency towards monothematicism. He employs virtuosic figurations (the so-called
glosa) in his works to a much greater extent, often at the expense of contrapuntal development; after the initial exposition, restatements of the theme are rare, and thematic development and use of contrapuntal devices such as inversion or augmentation are almost non-existent. Correa's harmonic language, while not devoid of tonally suggestive progressions, is quite distinctly modal and represents a continuation of the idiom established by
Cabezón and
Aguilera de Heredia. The music of Correa is not devoid of innovation. Correa makes use of many devices unique to Spanish organ music of this period: unusual sonorities such as the augmented triad, unusual rhythmic groupings, and a notable dissonance which he vigorously defends, referred to as
punto intenso contra remisso: the simultaneous sounding of a note and its chromatic alteration (e.g., C and C#). The theoretical aspect of this work also discusses
ornamentation,
notes inegales, registration, and use of the different modes and key signatures. Correa's organ music was inspired by the unique tonal qualities of Spanish organs,
unequal temperament, and such devices as the divided keyboard. Modern-day recording technology, coupled with an increased interest in studying ancient organs and building newer instruments to replicate them, has made these works more readily accessible to both performer and listener. A complete edition of Correa's works has been compiled by
Macario Santiago Kastner and released by
Masters Music Publications. ==Recordings==