Polythematic imitative fantasia. It is untitled in the source. In the Leipzig copy at the beginning of this fantasía a 16th century owner has written “Esta fantasia es segunda parte de la precediente [sic]” It appears to be based on a pavana such as the second of Milán’s pavanas (mi024)

Typical charming episodic fantasia displaying a variety of compositional techniques.
I (1-13) Theme 1 = common stockpile theme (first of same in Ramillete) = minor version of theme given by Ward JLSA X (1977) 33, 34. Stated as top voice of homophonic passage followed by Coda of equal length.
II (14-33) Theme 2 – imitative shorter notes, distinctive, used elsewhere by Milán (variant?). Theme 3 introduced in 26 – top voice of sequential network, serves as cadence.
III (33-45) Theme 4 imitative >> 39, 39-45 K – similar to theme 3 type.
IV (45-63), begins with a false statement of theme 4, then introduces theme 5 which is given twice as the top voice of a network. 55-63 = long free coda, basically homophonic.
V (63-83) Theme 6 imitative >> cadence at 75. Theme 6 (cf. 2) introduced as an appendage (= K?), in a network.
VI (84-107) Theme 8 pseudo-imitative, always top voice of a network. One set of statements to 91 >> homophonic K to 95, the second statements = repeat, with homophonic K. Theme 8 = extension of theme 4.
The looseness of IV & V with long free Coda sections makes the work a little wayward, although the final section pulls it back together again.
Themes 2, 4, 6, & (8) are imitative, alternate themes are upper-voice melodies (Theme 8 is pseudo-in) = constructional pattern.