The rubric explains that “ this fantasia goes according to the same modal rules as the previous fantasia, and it has to be played in the same way”. This means that it is in the seventh and eighth modes and should be played with a moderate tempo. Again, it is a polythematic fantasia. It is an nusually short work for its position in the book, only 98 compases. It is enjoyable, but not much substance, although quite a bit develops from the opening cells especially theme 2 (which becomes themes 4, 6). The material is not manipulated to achieve any great heights. Section I, compases 1-30, has an interesting atypical construction: Compases 1-9 introduce thematic motives 1, 2, 3 leading to a phrase of 4 compases (10-14) that has theme 4 in the Tenor, built from the previous motives combined. It begins with an extension of theme 2 and cadences with 3. Theme 3 in itself is a derivative of theme 1, with indentical rhythmic shape. Phrase 4 occurs consecutively three times. Its 4th statement becomes a stretto-like imitation of the head of theme 4. Section II begins with an imitation of 5 at compas 30. 5 is theme 3 with an added first note. 6 is introduced, being 2 plus a final note, no more new material is added until 80, and 7 is an augmentation (x2) of 1. Thus, all the material of the work comes from the initial 10 compases. The end of the work has two sections/phrases with block repetition 66-72 is repeated 72-80 similarly 80-89 >> 89-98.
The work could almost be considered monothematic, based on theme 4. Odd numbered, and even themes all relate.