Imitative Fantasia in 4 sections: I (1-25); II (25-50); III (50-83); IV (83-104). The work is in the same mode as the preceding motet. The structure of the work is quite symmetrical: sections I & IV resemble each other, as do the inner 2. The dramatic/rhetorical structure reflects this. Tonal, modal, textural & thematic considerations heighten the structural image. The 4 sections are of similar length, although III & IV are less equal – but are almost joined together. Each section has one principal them, treated imitatively.
The sense of unity is strong in the work.
Section I – broad theme –exposed BTS. During final entry a motivic new episode begins. Short notes, canon between upper 2 parts with Bass support. This somewhat free episode is reminiscent of Mudarra in the dissolution & overtaking of the opening mood. Intensity grows through (I) thicker texture, (2) quicker notes, (3) close canon. A string of cadences makes way for II.
II. Rhythmically more active theme. Much use of 3rds in harmony, somewhat dance-like. It proceeds with an initial string of 5 entries, cadence then one more set of three, with cadence.
III. Long theme. Widest range of all 4. Swelling effect. Climax. Full 3 part texture theme in S with compressed version in B. Gradually becomes looser – less themes, less intensity & slips into IV
IV. This section restores the opening mood & mode. Narrow range of themes 1 & 4. Central section hovers around modal dominant giving a Dorian feel. All themes have individuality although (because of Mode) descend semitone is common; also descend 3rd & ascend 3rd.