Milán writes a lengthy rubric indicating that “This fantasia that follows is in the sixth mode and has to be played at the beginning with a slow beat. Until this I have divided the bars into semibreves, which we commonly call “compasillo”, and in the present fantasia I write the bars with the value of a breve. I have done this because if it is difficult for you to understand the rhythm of the cantus in semibreves because of the quavers that it includes. It will be much easier to understand this meter in breve units using the note values that you will see”.

It is another polythematic, imitative fantasia but with numerous idiosyncrasies that make it rather unusual. “A” tuning gives Bb mode. It would make more sense in E. It has an unusual first section, with emphasis on motives rather than themes; the indication implying accelerating tempo. Sectionalization is difficult – usual style of Milán analysis doesn’t seem to apply terribly well. Seems more tonal than thematic rather like Mi16. Sections I & II are identical in length. Much greater use of free homophony esp. I. Also uses redoble head motives with free homophonic tails.