Polythematic, imitative fantasia of 113 compases. It is a clear comprehensible work, highly dependent of its themes & their imitation for structure – therefore not much free material. Mode according to range & final is a transposition to G of Mode 1. Jacobs’ transcription distorts the original tonality. The work has a sense of breadth & evenness created by cadential avoidance through successive suspensions introduced at resolutions (like the fantasia de consonancias) and also by thematic construction.
Thematic resemblance, thus cohesion is great: the four themes relate by means of ascend 4th, unison, dotted rhythm thus: [See below]

I (1-36) theme 1 – B/T – S/A – free – B (augmented) – free – K
II (36-56) theme 2 – T/S/A – B – S – K
III (56-81) theme 3 – A – T – B – S – free – T – K
IV (81-118) theme 4 – A (head) – T – S – B – A – T (mod) – K (coda)

Example of exact division of work in half. Good example of clear – out broad work and good harmonic writing / awareness.