Polythematic, episodic fantasia in mode 5. The work fits less into the general scheme of Daza’s fantasía style because:
1) First section is of 2 paired themes that is theme and counter theme
2) Sixth section is 9 bars of free coda with free glosas.
Otherwise, the work is quite regular imitative polyphony. All but first theme are weak beat entries. Interval of falling 3rd is prominent and a pattern “and a rising and falling semitone motive [b–c–b]”

• Sections (Bar nos. from Griffiths1982)
I. 1-6
II. 6-15
III. 15-22
IV. 22-30
V 29-35
VI. 35-44.

• F major tonality is strong typical of 5th and 6th mode. 1st and 6th sections begin and end in Tonic area. The intermediary themes alternate F >> C; C >> F etc.
• There is a certain symmetry to the piece hinging around theme 4. Theme 3 ascends while theme 5 descends. The symmetry is in terms of the dramatic structure and is therefore perhaps not real symmetry because of the necessity to view such a structure within time. The voice leading is the key. Themes 3 & 5, although radically different exhibit the falling voice entry pattern A-T-S B with equidistant entries of T S but with B not entering until the concluding tail of S. Theme 4 establishes at exactly bar 22 (piece has 44) a dramatic low with entries T B A S. Theme 4 has also the narrowest range. The outer sections I, II and VI all are S oriented. Section six (already mentioned glosas) has a greater number of suspensions than usual for Daza, all of which are used in a prolonged cadential function. He uses 9-8, 4-3, 7-6 (=9-8 in 6 chord). There is no apparent link between this section and the others, which all have intervallic relations. Exception may be in the Tenor cf 35-36 and 42-43. (nb. Theme 5 could be seen as an expansion of the head of I).