Imititave polyphonic fantasia. A relatively simple fantasia from a technical standpoint with considerable musical continuity. It is devised episodically and provides itself with cohesion through tonality, similarity of texture and procedure, and melodic themes.

Constructed as eight episodes: I 1-7; II 8-15; III 15-24; IV 25-38; V 38-45; VI 45-49; VII 50-61; VIII 62-74. The entire piece is predominantly based on the interval of a descending 3rd. It is central to each theme. There are several free areas usually in the latter part of longer episodes as cadential preparation and signifying that Milán had no desire to develop his idea any further. The piece is no great statement, just a vihuelist’s introduction to the second mode.
• Episode 1: The first two bars state the all important interval in treble & bass. It is extended into an imitative motive of 4 notes (Theme 1) which has 3 statements then cadencing.
• Episode 2 carries on the character but not content of its predecessor. Phrase length are the same and the first tune is an inversion of theme 4. Episode 3 is a contrast Sm units. Close range theme of oscillating intervals similar to Fantasía 3. Top voice (Theme 2) is just the 3rd up and down.
• Episode 4 is very typical vihuela writing imitative motive tossed around and closed by a short homophonic formula.
• Episode 5 begins as a simple statement in each voice (isolated by rests) of the descending 3rd. Homophonic free phrase to close.
• Episode 6: 4 bar free extension aimed at asserting tonality.
• Episode 7. Motivic theme in S only – Milán style sequence. A particularly clever one. A sequence of descending 3rds M M M M M M which are phrased by the accompanying voices into a motive which resembles both themes 1 and the tail of 3.
• Episode 8 repeats 7 with a close back to D. Tonal pattern of sections DADGAAFD. The 3rd appears in many other places (consciously or not). No matter is made about having to alter some intervals to fit a harmonic sequence. The main interval makes the work sweet in character.