A polythematic imitative fantasia for 4-course guitar. The work packs considerable variety and interest into its 71 compases. Structurally, this fantasia is one of those with its main internal cadence very close to the mid-point of the work, in c. 34.
Its four sections (I-IV) can be described as follows:
• I (1-22) The work begins imitatively with a broad opening theme 1, expanding in the sequence T / A – S – B – free – S statement with homophony. The influence of the mode on the style is notable.
• II (22-34) Commences with imitation of a motivic theme 2 in ascending semiquavers, adds some intensification and then homophonic movement to the mid-point cadence in c. 34 = K to 34.
• III (35-44) Imitations of theme 3 – a descending motive with distinctive rhythm [dotted M, Sm, Sm, Sm, M] in stretto, with a second phrase (40-44) built from the head of theme 3, with a descendin sequence of 3rds in the lower parts.
• IV (45-71) Commences as free polyphony until c. 58 where a motivic cell (theme 4) enters is used imitatively until the final cadence in c. 68, followed by a brief coda.

A manuscript copy of this piece was copied into a collection of pieces for four and five-course vihuela in E-Mn-MP/2211/1.