Polythematic imitative fantasia. Structurally a little different to the preceding works, but generally within the same style. A little longer, just enough for three sections – 96 compases
• I (1-24) Theme 1 T/B —S/A pairs @ 2 x S. Real answers >> imitations based on head of the theme >> K.
• II (24-43) T/B–S/A theme 2 each pair at different pitch i.e. tonality change >> T/B again - more of a two part texture of contrasting duos + Bridge (43-46) free smooth breakless transition to III.
• III (46-96) largely “suelto” treatment of theme B-S-B-B-B then becoming more overlapping. Several harmonisations of the theme in tenths. More tonal variety. Little motivic links between suelto statements which gradually become fuller imitations. Appears to have a cadence at 72 where it retakes energy, without changing to a new theme. >> K.

The tails of longer themes are more conspicuously heard. The structure of the work appears to be a complex type of binary (see the diagram). The spatial division within the work, i.e. the organisation of time, is proportional.

This fantasia was reprinted in Denss, Florilegium, 1594, fol 65-65v, “Fantasia Quarta” without acknowledgment of the author.