Rubric: Fantasia in mode 4 on la sol fa re mi. The voice to be sung is in red. The C clef is fuond on the third [course] at the third fret.” A monothematic ostinato fantasia in mode 4. It is quite typical of Pisador’s cantus firmus style, reflecting his usual virtues and weaknesses. It looks better on paper than it sounds. The texture is often too dense and awkward to execute, hence there is difficulty in hearing the theme. It is more satisfactory when the cantus firmus is sung. The theme is heard constantly through the piece in all voices, with some statements of the theme shared between two voices. The theme is often heard transposed, and is never used imitatively: always sucessive statements. There are many rhythmic variants of considerable variety of duration. The succession of voices chosen for the statements is quite pleasing and shows concern for variety and dramatic effect (although the latter with limited success. The phrasing is thematically determined and the number of cadences is few. This Imight be judged as a weakness, as the work fails to establish clear direction. Pisador’s usual technical weaknesses are found —parallel octaves and fifths, awkward voice-leading, and unusual harmonic sequences. The voice pairing sections (bars 1-6 and 26-31 of the transcription with halved barring) add relief. The work is a good example of Pisador’s central weaknesses: the paradox of a good structure yet a dull, undirected realisation. Mode 4 is not given strong character through harmonic centring on a-minor; the result is more Dorian than Phrygian.