Rubric: “Fantasia on fa mi re fa sol fa. Mode six, [with] the voice to be sung in red. The C clef is on the third [course] at the third fret.” This is another monothematic fantasia in cantus firmus style. It is one of Pisador’s better monothematic works. The opening duos, T/B – S/A, are very nice. This is constructed by laying out the theme in long notes in upper part with a free lower part. The first entry of the theme is on C, and is transposed to F for the second entries. The non-thematic countertheme is identical in both duos. Thereafter, the texture reverts to his normal cantus firmus style. The theme is distributed through all the voices; in original position and transposed to Bb. The usual voice irregularities occur, but the sense of phrase is quite coherent, and cadential divisions are much better than many others. The texture allows voicing and the ostinato theme to be heard. There is still not much tonal variety, but much more than in the fantasia that precedes this one iin the collection, Cadences are on C, F, d, Bb – quite varied. There is, however, still not much beauty or direction in the handling of non-thematic voices. The theme has inbuilt cadence in last 3 tones. There are two transposed presentations of the theme near the end where it transposed up a tone to sol fa mi sol la sol. — and designated in this way in the syllables placed beneath the tablature. In bars 23-26 there is imitative treatment of the theme. Texture made denser towards cadences, then reduced straight after to a duo. – Example of good control over texture and drama.