Polythematic, imitative fantasia of broadly Milán’s general style. It has particular features, however, which mark it off from Milan’s mainstream. The feel of the work is much more vocally inspired, particularly in section I. Although the section has a common number of themes and motives, it is largely through composed until compass 27, with longer phrases than usual, and a full-bodied texture. The work immediately assumes a breadth and depth quite removed from his often frivolous mood. The style is reminiscent of Spanish canciones and villanescas, and even sad romances. Mode and cadence help. A rhythmic cell of dotted minim—crotchet—minim (ascending & descending) unifies the free top voice of I. The work becomes increasingly instrumental in itw conception as it progresses. Thematic unity, and use of theme 2 in the thematic development provide some untiy. Milán’s rubric indicates that “this next fantasia is in the third and fourth modes, and because it is set in this way it will be called mixed: and it should be played neither very quickly or very slowly but with a well-measured beat.”