A polythematic, imitative fantasia of medium length (93 compases). The transcription in Jacobs’ edition in A tuning renders the piece in B minor and therefore distorts the appearance of the piece considerable. A transcription for a vihuela in G or C would be more appropriate. The themes are catalogued here a minor 3rd higher, as if for a Vihuela in C.

The work is unusual and distinct in several ways. It divides into three equal sections of 31 compases each, has individualistic themes and some virtually unique examples of the use of ‘textural block’ writing in Fuenllana. Section by section, the work may be summarised:
• I (theme I) – S/A – T/B > A/S modified > free counterpoint > K.
• II (theme 2) – a long theme of 10 compases, moving above theme 3 in S/A > T/ imitation and of a character vaguely reminiscent of Milán > head of theme 2, imitated > K built in Milán fashion from repetition of a textural block (55-58) at the upper octave (59-63), with theme 4 ie lowest voice.
• III (theme 5) – T/S imit – head in B > free inc. idiomatic redobles in ascending sequence at 83-84 with 10ths between outer voices, & K on the Vth degree (dominant).

There is a certain similarity between the final cadence of this fantasia and the intabulation that precedes it, the ‘Benedictus’ from the Missa l’Homme armé by Morales.