This free-form, homophonic fantasia of 67 compases is in the same style as the “fantasia de consonancias” of Fuenllana. The texture, usually three or four-voice, seldom has more than one active part at only time, or within any single phrase of the total musical movement. Frequently, like at the beginning, this movement is in the middle voice, in which case Mudarra limits his texture to 3 voices. Two outbursts of redoubles break the process of the music at 29, after the 1st statement of motive 2, and at 39 after several imitations of 2. Contrary motion of outer parts emphasizes the homophonic nature: eg 5-8; 10-13; 24-28. Final section, 47-67, is written in the cantus firmus style a3 and a4 with an active middle voice between outer consonances.

Venegas de Henestrosa reworked this fantasia. See 1557/2, no. 68 [Anglés edition, p. 98-9, Fantasia XIV] , also including material from Tiento 6 (Mu040)