Rubric: “This Fantasia is in the third mode which I have transposed for you to another place on the vihuela because the third and fourth modes work better on the vihuela where I have placed it for this piece and unlike the previous Fantasia, it has to be played with a slow beat.”

Polythematic imitative fantasia. A long work (225 compases) of great technical difficulty. The A tuning gives the work a final of G, thus a transposition by a minor 3rd of mode 3. Were the vihuela in F# tuning the mode would be untransposed. The work has great motivic cohesion throughout, but is somewhat monotonous and light-weight despite its mode. The beginning of the work is excellent, but the quality slips through monotony. The first phrase of the work can be divided into 2 thematic groups [themes 1&2]. The redoble in 1, particularly its rhythmic shape dominates the work and this factor creates the lack of interest. Most of the activity is in small 1 bar units of sequences and imitations. The work divides into only 2 sections by a Breve with the usual coda by repetition of the last segment. >> I = 1 – 102; II = 103 – 205 + Coda 206 – 225. The sections are thus exactly half. The homophonic passages and cadences are stereotypes. Section II begins with a free redoble to mark it.
The 14 themes and motives can be put into 4 groups:
1.) 1, 4, 4b, 5, 10, 11, 13 – all based on the redouble of 1
2.) 2, 6, 7, 14 – based on the M. C | M opening of 2
3.) 3, 7? (3 = augmentation by 2:1 of 7 >> related obscurely to 2)
4.) 8, 9, 10, 12 (stepwise ascend and descend patterns)
Theme 4b is of exceptional chromatic character. Several atypical or adventurous harmonies and suspensions occur.