This is Fuenllana’s intabulation of a version of the four-part villancico by Mateo Flecha “el viejo”. The exact source from which it is copied is unknown.
Fuenllana’s version has variants that make it clear he could not have copied it from the same version that was published in Villancicos de diversos autores (uppsala1556). The differences between Fuenllana’s version and the surviving polyphonic version in the Cancionero de Uppsala are listed in the Gómez-Griffiths edition (flecha2013).

This villancico is a popular Catalan song with a text built on refrains. The text is of seven stanzas of four verses in which verses 2 and 4 are the refrains “de la faririfunfan” and “Lloat sia Déu”.

In setting this villancico, Fuenllana follows the customary practice of Spanish intabulators. Notes longer than a semibreve in the original note values (minim in transcription) are replaced by two notes of the same pitch: breves are reduced to two semibreves, and dotted semibreves become without fail a semibreve-minim pair. Secondly, due to the nature of tablature, the chromatic alterations (semitonía) is indicated with precision. In two instances in this piece, these result in rather extraordinary harmonic movement, but do not sound half as bad on the instrument as they look on paper. The first is the E-flat against c-sharp (bassus and altus) clash in the second half of bar 21. In this case, it is impossible on the vihuela to sustain the e-flat while the c# is being played and so the strength of the clash is lost. The second instance is the extraordinary interplay between f-natural and f-sharp in the upper voices in bars 61-62.

The vocal part indicated to be sung in this song is the bass. As this voice does not enter until bar 5, and in order to make sense of the text, Fuenllana indicates the alto voice in red figures for the first few bars, and then migrates to the bass. This means that the vocalist must use a full two octaves of range.