Corona-Alcalde has given considerable detail about this piece. He shows it to be related to a dance published by Attaingnant in 1557, and suggests it to be a late addition to the manuscript. It is the only piece on the second folio of the Simancas source (he calls them A and B).
He describes La Moreda as: “The single piece in B is written without bar-lines or rhythmic signs; the only notational features worthy of comment are the repeat bars, confirmed by a rubric at the head stating that each line (rengelon) should be played twice, and a faint U-shaped mark at the bottom of the third stave, under the fourth group of numbers, which could possibly indicate that these are to be held for a longer time” (corona1986-1, 4). Corona believes that several copyists were involved in compiling the fragment. As a result of this he suggests “The single piece in B [=La Moreda], with its title and rubric is the work of a notarial hand, differing from that of scribe 4 in A; and as there are no grounds to relate them, other than the fact that they were filed together, it is reasonable co believe that there is no further connection.” (p. 5). This assessment of the manuscript and its alleged multiple scribes requires a new evaluation.
Regarding the music, Corona explains: “The title of the only item in B, 'La Moreda', could suggest some relation with the moresca dances, some Italian pieces called 'La Moretta', or certain galliards for lute or cittern which also bear the name 'moretta'.” He lists these in footnote 20. He continues: “Despite the similarity in title, no concordances are found among these pieces for the Moreda in B. This piece is, in fact, a well-known galliard that appeared for the first time in print in Etienne du Tertre's Septieme Livre de Danceries (Paris: Pierre Attaignant, 1557) with no distinctive name (Brown 1557/4, no 1). Subsequent printed sources range from 1558 to 1592 (see the Appendix ro this article for a list of concordances); these dates confirm the approximate dating proposed above based on the watermarks. A companson of B with its concordances shows that the scribe did not copy directly from any of them, and it is therefore impossible ro arrive at a more precise dating with the available information, other than the strong possibility that it may have been written after c.1564. The lack of bar-lines and rhythmic signs suggests that B was probably intended as an aide-memoire for a piece well known to the scribe, as someone copying an unfamiliar piece would hardly have been satisfied with such careless work: apart from the lack of rhythmic signs, there are mistakes in the cadences of two of its three strains” (corona1986-1, 7).

Corona/McCoy list of concordances
Concordances for 'IA Moreda'

A ) LUTE
1. Guillaume Morlaye, Second /i11re de tab/ature de /eut ( Paris, 1558): 'Gaillarde piemontoise', fol. 22 ( 1558 1 , no. 14)
2. Pierre Phalese (publisher), Theatrum Musicum (Louvain, 1563): 'Gaillarde', fol.61 ( 1563 12 , no. 120)
3. Adrian le Roy, A Briefe and easye instruction to /earne the tableture (London, 1568): 'The thirde Milanoise', fol. 36v ( 1568 1 , no. 25)
4. Pierre Phalese (publisher), Luculentmn Theatrum Musicum (Louvain, 1568): 'Gaillarda la Royne d'escosse', fol. 82; 'Gaill[ arda l Wij sal mij croe telen, fol. 85v (1568,, nos 132 and 142)
5. Bernhard Jobin (publisher), Das Ander Buch Newer/euner Kunstlicher i.Autenstuck (Strassbourg, 1573): 'Gaillarde" , sig. D .4 (1573z, no. 7)
6. Matthaiis Waissel, Tabulatura continens insignes et selectiuimas quasque cantiones (Frankfurt, 1573): 'Val cerca. Gagliarda', sig. L.411 ( 1573 1 , no.41)
7. Giulio Cesare Barbetta, l11ta11olatura di Uuto (Venice, 1585 ): 'Salcaretlo 4. detto O la val cerca·, p.44 ( 1585 1 , no. 37)
8. Matthaiis Waissel, Lautenbuch (Frankfurt, 1592) [Jiri Tichoca (ed.), Loutnova Tabulatura psana Mikula!em Smalem z Lcbendorfu, Editio Cimelia Bohemica Vol. VIII (Prague, 1969), p. 13, and Howard Mayer Brown, op. cit., P_- 520, report a concordance in this source; these authors, however, do not specify which of the pieces contained herein is the relevant item.] ( 1592/12)
9. Prague, University Library, MS XXIII F 147 (Mikula Smal Lute Book}: 'Gagliarda’, fol. 47; 'Gagliarda', fol.48 [See the facsimile edition by Editio Cimelia Bohemica mentioned above.
10. [Berlin, Preussische Staatsbibliothek Mus. ms. 40032: 'Gagliarda Milanesa', fol. 121v [This manuscript, presumed lost during the Second World War, has surfaced recently in the Biblioreka Jagiellonska, Cracow.]
11. Uppsala, University Library, Instr. mus. hs 412 (French, c. 1560): 'Milanoise', fol. 17v; 'C’est toy ma gente, milanoise', fol. 24v [See Jan Olof Ruden, Music in Tablature (Stockholm, 1981), p. 146, incipit 1446; sec also Jean-Michel Vaccaro, La Musique de Luth en France au XVle Siecle (Paris, 1981 ), pp. 292 and 304. This MS may have been written by the French lutenist Guillaume Morlaye; see J.-M Vaccaro, 'Les Tablacures de Luth manuscri1es du XVle siecle conservees la Bibliothcque Universitaire d'Uppsala: Quelques Hypotheses·, Revue de Musicologie, 71/ 1-2 ( 1985), pp. 181-3.)

B) CITTERN
1. Frederic Viaera, Nova et elegantissima in cithara ludenda carmina (Louvain, 1564): 'Gaiarda de la Royne de Eschosse·, fol. 33 ( 1564/7, no. 42)
2. Sebastian Vreedman, Nova longeque elegantissima cithara ludenda carmina (Louvain, 1568)· Gaill[arde] Wij sal mij croetelen' fol.50v (1568/6, no. 81)
3. Sebastian Vreedman, Carmina quae cythara pulsantur (Louvain. 1569): "Gaiarda la royne d'Ecosse', fol. 44v (1569/6 , no.81)
4. Pierre Phalese and Jean Bellere (publishers}, Hortulus Cytharae (Ancwerp, 1570): 'Quatrieme milanoise·, fol. 48 (1570/3, no. 63)
5. Pierre Phalese and Jean Bellere (publishers), Hortulus Citharae {Antwerp, 1582): "Gaillarde de la Royne d'Ecosse·. fol. 63v ( I 582/5, no. 77)

C} GUITAR
1. Pierre Phalese and Jean Bellere (publishers). Selectissima elegantsisimaque gallica, ilalica et latina in guiterna ludenda carmina (Antwerp, 1570): 'Troisieme gaillarde milanoise', fol. 67 ( 1570/4 , no. 78)

D) KEYBOARD
1. Elias Nicolaus Ammerbach, Orgel oder lnstrument Tabulaturbuch (Nuremberg, 1583): 'Ein ander Galliarth', p.177 (1583/2 , no. 107)
2. [cf. Berlin, Preussischer Staatsbibliothek, Mus. ms. 40034 (Tablature book of Christoph Löffelholz von Kolberg): 'Galliarda 21', fol. 18. lncipit quoted in Wilhelm Merian, Der Tanz in den Deutschen Tabulaturbüchern (Leipzig, 1927), p. 169.)

E) MENSURAL NOTATION
1. Etienne du Tertre, Septieme livre de danceries (Paris, 1557): 'Gaillarde premiere·, fol. Iv (1557/4 , no. 1b)
2. Jean d'Estrées, Quart Iivre de danseries (Paris, 1564): '14. Gaillarde a 5', fol. 14 (1564/2, no. 19) [Only rhe bass part of this collection survives, but it does conform ro the bass pattern found in the rest of the concordances.]

F) COGNATES
1. Francesco da Milano & Pietro Paolo Borrono, lntabulatura di liuto (Venice, 1546): 'Saltarello terzo detto la Barbarina·, fol. 6v ( 1546/8 , no. 1d)
2. Pierre Phalese (publisher), Carminum pro Testudine Liber IIll (Louvain, 1546): 'Galiarda IIII', sig. gg. 2v (1546/20, no. 29)
3. Pierre Phalese and Jean Bellere (publishers), Selectissimorum pro Testudine carminum liber (Antwerp, 1573): 'Galiarda llll', sig. gg. 2v (1573/8 , [no.29)) [This book is a reissue of 1546/20 . ]
4. Giovanni Antonio Terzi, II Secondo Libro de lntatavolatura di liuto (Venice, 1599): "Gagliarda Decima', p. 80 (1599/11, no. 61) [Although this piece differs to a large excent from rhe Simancas 'Moreda', the use of similar musical material in the first strains of both pieces justifies its mention here.]