Tempo = Apriessa. Similar in design and initial theme to Mudarra 5. Contrapuntal motet-like beginning leading to a freer more motivic conclusion. Title is a comment on playability.
Three main sections with the third divisible into two.

I 1-18 (compas);
The layout of the first section suggests a four part texture with repeated paired phrases and octave lower. The cadence at 16-17 is also temporarily 4 part but the opening section is not really S/A - T/B but S/T – T/B. The futility of Pujol’s transcription which tries to abstract the work more into a vocal mould than it should be is thus evident. However, his description of the lower of the two themes in the opening pair as a cantus firmus is sound. A more active line lies above and enjoys the most interest in section I. the 3rd 4th & 5th entries of theme I gradually exclude more and more of 2.

II 18-38
The cadence at 18 gives way to a redoble which announces section II a quite free section. In fact bars 18-23 function as (harmonic shift) an interlude before the entry of section II proper which the pseudo imitative procedures beginning at 23. During the section, the Bass voice takes up a long note theme take a cantus firmus broken only for the loose imitations and prior to the sections final conclusion. The upper voices take up the rhythmic idea freely M. C | M to give some unity in the closing bars.

IIIa 38-52, b 51-76
Section III begins with the introduction of theme 3 which is closely related to 2. This enters 4 times up to 51 where after the tail is dropped and just the thematic head (a common bass cadential figure) forms the loose thematic basis until the works end receiving 8 entries. The use of the figure does not follow any accepted vocal canonic formulae and the cadential nature of the figure makes the section sound rather like a series of cadences. The similarities of themes 2, 3 & 4 make the work rather closely unified – almost monothematic.