Polythematic fantasía. As the title suggests, it marks the break-off point from the cantus-firmus works. Tuning and mode are not given by Pisador. Quite an attractive work. Combines passages of quite competent imitative writing with others in free non-imitative polyphony. There are a couple of possibilities regarding formal design. Ratios seem to show an outer concern with formal design. Using the bar nos of my transcription, the simplest formal distinction is based on the imitative patterns: I (1-17) - II (18-52). In each section the process begins with imitation leading to increasingly freer textures, although both along different lines. However, there is a strong case for a tripartite division of exactly equal length on the number 17: I (1-17) - II (18-34) - III (35-52). This work is another that suggests Pisador’s awareness or consciousness of formal outer design. To me, however, section III with the cantus firmus is insdistinct, lacking in character and hence perhaps makes the listener more aware of the simpler bi-partite form.