Imitative polythematic fantasia. Pujol calls it the most important of the first group of nine fantasias. It is certainly the broadest and most technically demanding. It is the longest, the most intricate, and the deepest in terms of its emotional intensity. It begins and ends with imitative sections while the internal part is largely free, derived from variants of a theme head rhythmically defined by a dotted minima and two seminimas, both ascending and descending stepwise motion. This flourishes into the final theme. The middle is clearly divided into short cadentially separated phrases. The work is continuous; the section divisions thus are ideas only. Harmonically adventurous in cadences and the use of the diminished 6th.