Another imitative fantasia. There is more cohesion in the work than first meets the eye. It is provided largely by secondary material. As with Milán’s other works, structural division is difficult because of the short seemingly unrelated episodic and improvisation-based phrases. The relative importance of secondary material makes a definitive analysis impossible. In this case the work has been divided into 4 episodes: I (1-46) - II (46-66) - III (67-78) - IV (78-98).

The structure of this fantasia can be explained in different ways. It is are short succinct work that relies less on imitation than is typical in Milan’s music. Instead it makes use on several instances of what appear to be repetition of entire textural blocks, perhaps some pre-composed.

The outer structure of the 98-bar work is defined by a cadence on a breve in bar 66 (2/3rds of the duration), but it is also possible that the cadence at bar 46 on a high d can also be used as a point of structural division, giving an outer structure like this: A (1-46) - B (46-66) - C (67-98).

Otherwise the work can be divided into cadentially separated episodes based on single themes:

• I (1-27). Theme1. 3 statements of a 10-bar 2-voice complex. The second statement is an exact repeat of the first, except for its cadence. The 3rd statement is a transposition (4th higher) of the theme.
• II (28-36) - theme 2 in sequence
• III (36-46) - theme 3 = top voice of textural complex, stated twice. Repetition gives it a cadential function.

• IV (46-59) - imitations of theme 4
• V (60-66). Cadential passage with brief imitations of motivic theme 5 + a repetition of theme 2 into the cadence.

• VI (67-78) - theme 6 textural complex in ascending sequence + free extension to cadence
• VII (76-98) - theme 7, another textural complex, stated three times, each with variations to bar 90, then free counterpoint in three parts through to final cadence.