Polythematic imitative fantasia. As the rubric at its start declares, it is the first of nine “para desemboltura de manos.” Of the group Fuenllana says that “the first three are of greater difficulty than the six that follow, as can be seen by the letters [D and F] that are there to indicate it.” Las tres primeras tiene[n] mayor dificultad q[ue] las seys q[ue] se pone[n] adela[n]te, segu[n] se vera por la letra q[ue] se pone por señal. This one is indicated as D[ificil]. Jacob’s transcription is for a vihuela in A which gives a signature of two flats. A transcription in E would be much better, and would render the piece in mode 5 or 6 without transposition.
The fantasia is built of continuous polyphony using successive overlapping points of imitation. It can be subdivided into sections based on the use of thematic material, and there are several points that have little cadential phrases. The fantasias of book 4 are shorter than the earlier ones: this one has only 89 compases. The themes have their usual individuality, and Fuenllana uses his customary devices such as harmonisation in 10ths & sometimes 3rds, and interesting non-exposing voices. Particularly important are the variations in rhythmic structure of successive statements of each themes: the basic melodic outlines are preserved yet minor details are altered. Several techniques of voice entry are used. Of the 4 main points of imitation, or internal sections, I & III, II & IV use similar procedures.
I (1 – 30) Theme 1 S/A – T/B pairs (at the 5th)
II (28 – 40) Theme 2 S/T (at 8va on Bb) >> A/B (at 8va on Eb)
III (40 – 61) Themes 3+4 S/A – T/B (theme with counter theme at the 5th)
IV (61 – 89) Theme 5 S/T >> A/B 5th lower as II. Last B entry is a trick: restates 4.