Designated by Narváez as a Fantasia de consonancia ie. of consonances or chords. A harmonic basis is implied. It is certainly one of his less typical works, but it is not as chordal as one might expect: not as different in texture to his other fantasias. There are no imitative themes. Harmonic analysis reveals no chordal patterns, therefore the work seems through composed. Modulation to d min occurs half way through at compás 45 with a 6 note chord, preceded and followed by two statements of same idea [= theme 1] at the 8va, and then the tail is repeated as a cadential network 3rd higher to effect a remodulation to F. Otherwise, only tiny little points of imit that give certain passages a sense of cohesion.
The features which stylistically differentiate the work from Narvávez’s others are:

1) Open texture is chordal (homophonic) not imitative (polyphonic).
2) Harmonic rhythm is slower.
3) The bass moves more slowly, hence reason 2.
4) There is not much counterpoint a 2; thus triadic all the time nearly.
5) Through composed, free counterpoint, with no structural themes only suggest motives that remind one of the polyphonic of the work.
6) Sustained use of instruments high register.

Harmonically the I-IV relationship is important.
Suspensions abound through the frequent use of a rhythmic motive dotted minim–semiminim–semibreve (usually two unison notes and then a falling second. This frequently begins on the second beat of the bar, thus causing a suspension over the barline.

Reworked by Venegas de Henestrosa, Libro de cifra nueva, fol. 39 (cf. Brown 1557-02, no 66) [Anglés edition, pp. 94-95, Fantasia XII].