Luis Milán

Perdida tenho la color


El Maestro (1536), fol. Q4v


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Source title Este villancico que se sigue esta sonado para q[ue] el cantor pueda hazer garganta: y la vihuela ha de yr a espacio: la pporcio[n] q[ue] esta al fin del villa[n]cico no lo hagays si no hos parece
Title in contents  
Text incipit Perdida teñyo la color


Category song

Genre Villancico

Fantasia type

Mode 7

Voices 4

Length (compases) 25


Tuning A

Courses 6

Final VI/3

Highest I/5

Lowest VI/3

Difficulty not specified

Tempo slow

Song Text

Language PO

Vocal notation texted cifras rojas


Rubric: “This villancico that follows is to be played so that the singer can embellish it: the vihuela has to go slowly. The proportion that is at the end of the villancico you don’t have to do if you do no wish.” Milán gives the setting of the last line of the ‘estribillo’ twice: first in duble metre, and then again in triple triple metre (compases 13-19). He indicates that this addition is optional, but does not make it clear whether it is an optional way of performing the duple version.

Lafargue cites this as the only example she knows in all the lutesong repertoire of a passamezzo antico setting (lafargue 1999, lafargue2003). This applies only to the first verse of the estribillo; the second phrase is harmonically distinct: III-VII-V, i-VII-IV-V-I

Vásquez1551 contains a similarly texted piece in a three voice setting: Perdida traigo la color, no 51. See edition in vasquezVC.

Song Text

Perdida tenyo la color,
dize minya mayre
que lo he d'amor.
La color tenyo perdida
por una desconocida.

I have lost my color,
my mother says
because of love.
I have lost my color
over an unknown girl.

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