Polythematic, imitative fantasia that parodies the preceding motet “Ave Maria” by Willaert. It is a long work of 175 compases. It is multi-sectioned, dense, and atypical of the majority of Fuenllana’s fantasias, especially the non-canonic opening, also its multi-themed episodes, and the return of theme 4 later in work.
The divisions of the work are as follows”
I (1-28) Theme 1 in A >> motive = theme 2 twice >> 1 in B >> free >> K.
II (28-41) Short. Theme 3 A/T then free but using tail motive of theme.
III (41-73) Loose suelto appearances of theme 4 + K.
IV (73-107) Themes 5+6 as T/B >> 8/A pairs free with some reminiscences (unimportant) of 4.
V (107-195) Longest section reverts to theme 4 & its variant 4b (added initial note). Motive 2 makes a couple of appearances, but 4 predominates suelto & in canon. Through to 169 the little Coda. 4b is tonally modified in its first interval several times.
Jacobs’ transcription using A tuning seems a little odd as it gives mode 2 in C minor. B tuning or E would have been better

The fantasia draws some material from the motet, and quotes entire textual phrases at several points. The opening descend 4th in longs of the motet are quoted in fantasia opening, but texture gives them little significance over theme 1. Themes 2, 3, 4, 5, derived from model. The following hits the model quotes in the fantasia: [See below]. The borrowing is not highly structured, nor structurally important to the fantasia. Compases 116-126 make a lovely idiomatic parody borrowing for example – Whimsical rather than structural.
These are the principal correspondences:
Fantasia Motet
25-31 = 42-48
57-61 ≈ 74-76
72-73 ≈ 106-107
98-100 = 87-90
116-126 = 138-145