Polythematic, imitative, long fantasia 186 compases. Binary structure, with division exactly at compass 93. Mode 2 range with a mixture of mode 1 & 2 cadences, transported to G. A clearly directed work showing obviously its build-up of tension. A fine example of Fuenllana’s compositional technique.

I (1-49) long monothematic section, but with subsidiary theme breaking flow: theme 1 – B/T – A/S – B – theme 2 S/A/T – theme 1 – B – S/B – T – K.
II (49-93) Concludes 1st ½ of work – ascend Theme 3 – T/A – S/B/A – T/B – T/A – B/S >> K built freely but introducing theme 3b T/A/B/S as conclusion.
III (93-148) Theme 4. Commences as low point in the drama, and proceeds largely by voice pairs, in echo sometimes, and in increasing texture at other points. Culminates in the beginning of 5. Theme 4 is based on Fuenllana’s frequent descend 3 motive type.
IV (148-186) Theme 5, Fuenllana’s favorite stretto, descend theme treated in usual way, descending to natural cadence on A = low point, then he inverts the theme (now = theme 6) and harmonized it in 3rds. Free 168 – 175 >> repeated homophonic phrase >> K finally asserted through introduction & imitation B/A/B of theme 7 at 179 ff >> K.

Themes 3 + 4; 5 & 6 are related.