The last of four Fantasias “with certain passages to untangle the hands”. This one is in the eighth 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 of alternating redoble/counterpoint sections.
Typical style for this type.
4 sections – alternating.
I – redobles; II – free counterpoint; III – redobles; IV – imitation.
Irregular voice-leading in redoble sections.
Thematic interrelationship – III & I from same rhythmic melodic redoble motive. Section I, II, IV each 9 bars long – III 5 bars. Typical second redoble section shorter and with homophonic contrary motion release cf Da21.

I. 1-9 theme 1 (= 2 voice network redoble and accomp) S/A [cadence on C] T/B 8lower [cadence on C] theme2 [cadence on G] >> theme 2 (sequence x2) [cadence on G]

II. 9-18 at 3 (without B) except for final cadence and its preparation. Free counterpoint with all voices descending in minim & minim with occasional dotted crotchet quaver free – [cadence on d] – free [cadence on C]

III. 18-23 sequential redobles – theme 2
3 x in S >> inverted in B x 2 >> ascending B >> S range >> homophonic contrary motion a4 (release function) to [cadence on G]

IV. Theme 3 23-32
T – S – free bar B – S (mod) [interrupted cadence on e] – S – free bark [cadence on G]