Based on thematic materials and textures this fantasia is formed of six episodes. The last one includes a written-out repeat, Milán’s formula for signifying the conlusion. They begin respectively at bars1 (1-12), 2 (13-20), 3 (21-32) , 4 (33-52), 5 (53-66) and 6 (67-115) in the tablature.
A broader structure based on dramatic tension, which in the case of this piece closely parallels harmonic direction, can be made by dividing the work into 3 broader sections (periods): I 1-21; II 21-67; III 67-115. Each of these periods contains one only substantial musical idea and a number of lesser ones. The distinction is made on the basis of the musical idea being used imitatively, i.e. it is important enough to share around. Moreover, periods I and II end with the same material. Period 1 begins with an imitative thematic motive (episode 1), with a closing cadence on the dominant. Second episode begins with an energetic 2-part close range tune brings, returniung to the modal final.
Period II begins with a 3 bar interlude, with the alto based on theme 1, and whose function is to take tonal centre to F. At bar 25 a 4-bar idiomatic melodic network theme is presented and repeated, interrupting the cadence by its own repetition, before giving way to a new descending motive treated imitatively after its stealthy entry. It begins in the style of a cadential motive, but is extended into something more important than what has preceded it. This ends at 49. A short 3 part homophonic passage takes the work onto the dominant whereby theme 2 is reintroduced and extended by way of sequence to eventually return to the tonic.
Period 3 begins boldly at bar 67 with much imitative movement until 91 where a sense of finality is suspended by an exact repetition of the section.
The sections of the work are therefore marked by dramatic ebb and tonal repose. The repetition of thematic material and textural similarity of the episodes starting at 1, 33 and 67 gives cohesion also rhythmically although the first is dilated. Syncopation is important throughout, except for the homophonic passages and provides consistency. The work plays with the listener’s expectations e.g. the “non-theme” theme at 13, the bridge 21-24, and the late entrance of the important aspect of the “F major” section.