The first of four Fantasias “with certain passages to untangle the hands”. This one is in the first mode. The term “desenvovlver las manos”, as well as the style to a significant extent, is based on Mudarra. The term literally is used to explain that the fantasia has sections of fast melodic passage work.

Fantasia “de pasos largos”. The broadest and most overt formal division is made on the basis of texture: Redoble and non redoble sections. This work divides in 3 – a redoble section either side of a non-redoble section. The redoble sections are internally quite free, although some little points of imitation occur, and the redoble motives provide thematic cohesion. They are built above simple harmonic sequences. I-IV-V and Romanesca/folia patterns eg. 22-25. Sequences occur in both types of sections in this piece. Daza shows no keenness for them in the imitative fantasias. Inversion of redoble motives occurs, and these motives often have considerable variation in melodic shape to the point that their rhythmic pattern is the central unifier.
Motive 2 = motive 1, inverted. The division of the piece by cadences into phrases gives a good view of how the work sounds. Each phrase has its own idea and shape. The curves of the graph show how these relate to one another.

Themes 4 & 5 are 1 & 2 with note values halved. Reference to themes and motives is scant that is there is much variation of them within the work.