Polythematic, imitative fantasia with a rich variety of textures and ideas. 108 compases — mid-point at 55, at the end of the extended first section. It is not a typical example of Fuenllana’s ideas of planning, but it reflects an inventive formal variant. It is the fourth of the group of four pieces, fu095–fu098, that use this scordatura, with the sixth course lowered one whole tone..

• I (1-55) Theme 1 - long theme with movement in semiminims. Attractive & individual. A/S (@ 4 semibreves) >> T >> B >> S (skeletal)/T >> free counterpoint based on semiminim motives from the theme >> K at 47 >> Coda to section = 2 statements of voice pairs of themes 2a +b in form S/T >> A/B = K (using 6ths and 10ths)
• II Theme 3 (55-77) Motivic theme, canonically treated then dissolving into free polyphony based loosely on theme 3.
• III (77-92) Cantus firmus section - rare in Fuenllana with semibreve descending scales in bass and thin texture above semiminim movement.
• IV (92-108) theme 4 (ascending scale). Ostinato: T–B–B + Coda. Form of melody is the opposite of the previous section.