The vocal model was identified first by Jacobs, it appears. It was not identified by Ward and no concordance is given in BrownI. Regarding the vocal model, see in particular the artice by Manuel del Sol (sol2009) as well as Jacobs1978, Stevenson, and Schöner (1999). The version cited by Ward (ward1953) as a concordance (Medinaceli 13230) is only cited as a 4-voice work according to Querol’s inventory (Cancionero musical de la Casa de Medinaceli (Siglo XVI): Polifonía profana, I, Texto, 18. Manuel del Sol explains that the verse set here “Et factum est” was the exordium of the Lamentation, but expelled from the Tridentine reform and replaced. Del Sol suggests that this version by Fuenllana could have been from the Morales version no longer extant copied in Seville cathedral in 1547 and/or 1549 (p.9). He indicates that the existence of another two manuscript copies of this Lamentation in Montserrat and Baeza (E-MO 753 and E-BaezaC 4,14) in which (as in E-Tc 21) the text of the original exordium is substituted. Nevertheless, the prologue has been able to be restored on the basis of the copy kept in the Cathedral of Puebla (Mexico) and with the help of Fuenllana’s intabulation. Del Sol also observes that this is one of the few pieces in vihuela tablature in which the vihuela part also includes the separately notated vocal line. He also points to the popularity of this melody in Spain: it is the same included in Cisneros, Passionarium Toletatum of 1516.