Rubric: Fantasia on a Benedictus. Mode 1, First level [of difficulty].” This is a parody fantasia on an unknown model. Without knowing that it was a parody work, it would be impossible to distinguish it from a free fantasia, or to establish which parts were parodied and which parts are newly composed. It is a short work of 84 compases in a basically imitative style, dividing at 43 into exactly two equal and parallel halves:
I (1-42) Theme 1 introduces imitatively. T–S–B, then cadential movement from 16-22 with an imitative sub-theme (unnumbered). Theme 2 then occurs twice in T, 1st with free B counterpoint then the same in S (c. 34-43) Free K, homophonic with some parallel 10ths.
II (43-84) Texture reduced, theme 3 begins imitative section culminating in extended statements of 3 – 3b > largely free from K at 64 but with theme 2 returning in S as top of homophony until end.

Theme 2 is treated rather like a cantus firmus or ostinato. Additionally, there is another important phrase which makes five appearances in 2 forms beginning at c. 13, 34, 46, 64, 72 and gives an upward seep. In general, the non-exposing voices aren’t relegated to subservient roles and this gives the “rhapsodic” feeling to the work, the term used by Ward to describe Valderrábano’s fantasias.