A polythematic, imitative fantasia, in mode 7 of 86 compases. It contains a variety of textures, and is written in a much high register. It is characterised by a transparent and lucid texture, and a dashing character. The themes contain their own cadences in several instances: that is they are built on cadential motives, elaborated in their preparatory stage eg. 2, 4, 5 sequence used. Work is ongoing and continuous, sectionalization is thus artificial. The basis here is thematic and textural change, rationalized to the nearest cadence.
I – Voice pairs: theme 1 and 1b. 1 = active component. 1b = Semibreve static harmony. 3 statements 1-16.
II – free section with discant predominant working theme 2 into the melodic framework after the first phrase, from 22ff. Culminates at 37 where melodic sequence of motive 3 occurs, and a variant of 2 in T concludes section.
III – begins at 44 with a free theme like II then 4 twice in the middle voice of texture a3 --> 2˅ --> redobles to K at 68.
IV – Theme five imit to K.

With the exception of 4, the themes are never used in middle voices only in outer 2. Adds to the immediate comprehensibility of the works, and textural clarity, but shows how the instrumental idiom functions in a rapidly moving piece with regard to imitative practice.
1st 3 duos enter at 4th lower G, D, A (harmonically unusual).

Venegas de Henestrosa reworked this fantasia. See 1557/2, no. 70 [Anglés edition, p. 103-4, Fantasia XVI] , also including material from Tiento 7 (Mu043)