The third of four Fantasias “with certain passages to untangle the hands”. This one is in the fifth mode. The term “desenvolver 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.

Four alternating sections in two contrasting styles: redobles and imitation. As a foil to the exuberant redoble style, the piece ends with a very restrained imitative section in voice pairing + coda.
I. 1-16 redobles; II. 16-24 imitation; III. 24-30 redobles >> homophonic free counterpoint a 4 (release function); IV. 30-42 imitation + coda. 2 long outer sections with shorter internal ones: II = I/2; IV = III/2.
Harmonic pattern of I. Sequences. (See analysis)

I. (I – IV – V – I harmonic pattern) – akin to diferencias. Themes 1 & 2
1 in S, 1 in T (8va) [cadence on F, bar 5]: 2 S – A – T >> 1 free bar [cadence on F, bar 9] >> 4 free bars [cadence on C, bar 14] >> 2 free bars of counter point [cadence on F, bar 16].

II. Theme 3 S (slightly mod) / A (mod to be off beat) - T – B (harmonized in 10th in S) >> 2 free bars [cadence on F, bar 24]

III. Redobles (ascend) free counterpoint (descend) >> to soft (non V-I) [cadence on C, bar 30]
Sequence of theme 4 I – IV – V – I pattern

IV. Theme 5 T/B at 2 x Crotchet [cadence on F, bar 33] S/A (5a+b) at 2 x Crotchet [interrupted cadence on d in bar 36]; T/B (5 a+b) at 2 x Crotchet [cadence on F, bar 39]

Coda 39-42 A – S – B – T [cadence on F, bar 42] voices have similar shape that is imitative over a descend theme.