Monothematic fantasia, imitative similar in form to No 3. On going polyphony with no sectionalization, yet divisible by texture and content. 58 bars length = 115 compases. The cantus firmus appears in original position, and transposed beginning on B, and in several rhythmic guises. Some of the later appearances are disguised and shared between up to three voices. Thematic appearances predominate in lower parts. Total appearances 17: S-2; A-4; T-5; B-6 (Shared are assigned by majority of pitches. The use of transposed theme is marked by free interludes of quite substantial size between statements and by part sharing that is bar 27ff >> end >> 2nd half of work. Voice pairing used with virtually identical counter theme. Cadences on E, A, C.

Less use of a4 texture than in previous monothematic works especially 26-38 as well as 13-19. Largely 13-38. Several irregular cadences, especially due to the last 2 notes of cantus firmus G – E. Pisador sets up what looks like a V-I cadence with G as dom, but resolves on to Eminor. Note final cadence with semitone final onto the 3rd of the chord & mode = G – f# - g in an e chord. Fantasia has repose, and the cantus firmus is not made abundantly evident throughout giving the effect of thru composition.
Begins like an imitative fantasia. Use of Quaver motives 28ff gives new interest as does the C. Sq Sq C rhythmic motive.