The second of Narváez’s modal cycle in the libro primero of the Delphín. It is a polythematic imitative fantasía with a clear structure. Ward quotes episode III as a prime example of Narváez’s individual attitude to chromaticism and “too-extended use of sequence”. (Ward 1953, 256). The fantasia was reprinted in Pierre Phalèse, Des chansons reduictz en Tablature, fol. c3 (Brown 1546-18, no 10).

Polythematic fantasia in 5 sections. Structurally and melodically more appealing than No. 1 – better use and distribution of ideas. Pleasing contrast of thematic and free material. The process of ideas is not too fast, interesting & adventurous dissonances. Theme 2 constructed to give dissonance on 1st strong beat. Cadence at 67-8 very dissonant. Strictness of a4 writing not maintained throughout – 6 note chord in compass 153. Themes 1, 2, 5, 6 fill out a 5th. 1, 5, 6 – ascend 5th.
Tiempo = apriessa.

Each section has its own character and is derived from a different point of departure.
Section V generally proceeds in shorter values. Adds intensity and breadth.
Pujol points out similarity between theme 4 and Valderrábano’s “Y cavalga Calaynos” (No 22 in Pujol ed.)