The rubric of Milan‘s last fantasia indicates that “this following gfantasia goes according to the seventh and eighth modes and has to be played quite quickly.” It is agood work, a polythematic fantasia that is pleasant and that is among the works that are most typical of his style. It is built of five sections, including one in ¢3. It is plan is as follows:
I (1-51) begins with S/A – T/B pairs then complementary motives 2a+b make a succession of statements, 3 is imitated and K.
II (51-103) begins by imitation of 4, cadences, states 5 twice as top of homophony, then proceeds motivically, through 6+7 to motive 8 which is tightly imitated with varied repetition >> K section.
III is built on Redoble 9, moves homophonically to imitations of 10 >> K [III (103-135).
IV ¢3 section. Dance like other Milán use of the triple signatures looser style of writing. Motives 11a+b, 12, 13, 14, 15 describe some of the repeated motivic ideas (135-180)
V (180-201) repeats opening of III, that is based on 9 + K.