Rubric: “This sonnet that follows has to be played very slowly, and the singer can embellish and it can be played without the redobles which are those diminutions in quavers that have no red ciphers. And if you play it without the redobles you will have to have give two compases for each red number at the end of the phrase before the redoble, and then to continue without playing the redoble.”

As can be seen, Milán places a redoble between each of the sung phrases, but his introductory rubric explains that the song can be performed as written, or by omitting the redobles if preferred.

The modal classification here, based on the criteria of final, range and other cadences is not altogether convincing as a description of the tonal organisation of the music.

The text is not a full sonnet of Petrarchan structure, but only of nine verses. The same text was set by Verdelot as a four-voiced madriga, published in 1533l, and arranged as a lute song by Willaert and published also in 1536.