Idiomatic fantasia in the style of “consonancias y redobles”. Milán’s rubric provides considerable information regarding performance practice that apply not only to this piece but all works in this style. Milán’s rubric indicates that “The fantasias in these fourth and fifth books in which we now enter show a music which is playing the vihuela in chords mixed with passage work that is commonly called “dedillo”. And to play them with their natural style you need to direct yourself in the following way: all that might be in chords should be played with a slow beat and everything that is redobles should be played with a fast beat. And at each fermata you should stop playing for a moment. This is the music that in the contents of the present book I said you would find in the fourth and fifth fascicles [and] has more to do with “tañer de gala” [festive playing?] than much [other] music, or with playing in time. And these two following fantasias go according to the first and second modes.”

The pages of this fantasía are bound incorrectly in some (if not all) the surviving copies.

The first of the consonancias + Redobles fantasias. The work is short, (75 compases), charming and almost naive in construction. It serves as an excellent example, by virtue of its simplicity, to Milán’s compositional approach. It is sectional, clearly defined by fermata breves. The same material is repeated in successive sections, each time cadencing in different place, hence forward thrust is achieved harmonically through tonal direction. Music divides into 4 sections: I (1-29); II (30-49); III (50-63); IV (64-75) that is progressively shorter 29:19:13:11. I divides into 3, II into 2, III & IV don’t divide although IV repeats itself but without cadence. Many interrelationships exist between sections. Each phrase is conceived in the same way: MAIN MATERIAL ➞ DESCENDING REDOBLE ➞ CADENTIAL FORMULA.
I (non-imitative) c.1 – intro. chord ➞ Ia: 1 ➞ 2 ➞ K [A]. Ib: I ➞ 2 ➞ K (d). Ic: intro chord ➞ 1 (mod) [foreshadows II] ➞ 2 ➞ K [A] cadential appendage: reinforces cadence, foreshadows 7 and adds 3rd repeat variety. K [A].
IIa ➞ 3 (sequence) – 2 (mod) – K [d] IIb intro chord g: ➞ 3 imitated (4 times) ➞ K (A)
III consonancias 4 (twice) ➞ 5 (imitated, 6 times) ➞ 2 (mod) ➞ K (g)
IV consonancias 6 (twice) ➞ 7 (twice) ➞ repeated ➞ K (d)
In I & II main musical statements are redobles, consonancias are for cadence. I is monophonic, II is imitative.
In III & IV, which are of identical formal construction, the musical discussion commences with consonancias, followed by redobles then cadence. In both, the consonancias are parallel 10ths with contrary motion in inner voice. The redoble theme 2 (desc.) precedes consonancias of cadences except in IV. Rhythm of Bar 3 often precedes this redoble. Foreshadowing adds cohesion. Long note descend theme, range of 4th occurs as a secondary event at 6-8, 36-38, 39-42, then as theme 4. 6 = 4 inverted.