Brief polythematic imitative fantasia of 85 compases. The work is designated as easy, “fácil”, probably because it has notably sparse textures, even though it is in four voices. The result is a clear, transparent texture and a work of great charm that combines strict and free counterpoint admirably. It also exhibits variety inasmuch as some process or texture doesn’t occur twice. Interval of the 3rd assumes considerable importance through its pervasive employment.

The work is a model of Fuenllana’s architectonic design. It divides into four sections, making up a binary formal scheme with the major division at compás 37. The final cadence occurs at c. 78, followed by a coda iof another seven compases. Formally the work is binary, with sections I and III being imitative in pairs with II and IV being free extensions. There are no defined section breaks, so this broader outlook defines it well. The structural scheme may be indicated as follows:
I (1-18) S/A – T/B pairs of theme 1 with tonal answers. Distinctive theme.
II (18-37) begins actually at 17 with false entry of theme 1, then wanders with free counterpoint to a cadence on F at c. 37.
III (37-68) S/A – T/B pairs of theme 2 with identical theme tails. Third set of pair begins at c. 52 which is then given some partial and varied entries en route to the cadence at c. 68.
IV (68-85) begins as free extension of III, then repeats the cadential progression of III in c. 6-68, then theme 3 forms coda, being an octave canon/sequence defining the interval of the 3rd – as if a summation. of all that has preceded.

This fantasia is reprinted in Denss 1594, fol 69v as “Fantasia Decima” with no acknowledgement of Fuenllana’s authorship.