Milán’s rubric reads: “This fantasia that follows goes according to the third and fourth modes for which reason it is called mixed like the preceding fantasia and it has to be played woth the beat somewhat fast”.
It is a polythematic fantasia that would give the correct mode if the vihuela were in F# instead of A tuning(which gives a key with three flats. It is a most playable work. It has clear sectionalization according to metre changes. The triple sections are more effusive than the duple. It is constructed using a similar formula to previous work – it moves from obvious to obscure in section I. Section II is straightforward, while III is the loosest, with much suggestive polyphony. Section IV recalls II, and the final section V is homophonic. Formal clarity makes it a good work to discuss. It is a good example of multiple themes forming a dramatic unit.