Rubric: “Another fantasia in mode 4 in four voices”. Here Pisador offers a non-imitative, through-composed fantasia. Unusual, it is the first by Pisador in this style. The work has quite a bit of mood due to its mode, but is rambling and shows little evidence of being connceived around a structural model. It has many technical weaknesses, and the result is a little boring. Some of the voice leading is defective, the cadences in first 15 bars show prominence of E–F–E idea. From b. 28 a second them emerges from the bass, noticeable due to its rhythm (dotted crotchet, quaver, crotchet). A breif imitative passage (in quavers) occurs in bars 40-42. The theme given as theme 1 is only the melodic incipit of the piece; theme 2 occurs only twice.
It might be stretching things a bit far, but the work is also possibly seen as based on a similar formula as the immediately preceeding fantasiasin untis of approximately 14 bars:
I 1-14 (E-F-E)
II 15-28 free
III 28-42 ((dotted crotchet, quaver, crotchet theme
IV 43-57 free
In performance, this structure is not readily audible, and might well be excessively formalistic.