This piece enjoys a special place in the history of the vihuela as the earliest modern edition of a vihuela piece, edited by Mariano Soriano Fuertes, published in José Inzenga, “Fuenllana, A las armas, Moriscote”. Calendario Histórico Musical para el año de 1873. Ed. Mariano de Soriano Fuertes. Madrid: Biblioteca de Instrucción y Recreo, 1872. 30-31.

It is a homophonic setting, and presumably an intabulation of a piece no longer extant. It is attributed to “Bernal”. Ward gives a few possible candidates Bernal González, Antonio Bernal or José Bernal. In footnote 9 on p. 444 of ward1953 the author expands on the identities of the three composers named.

Another setting of the same romance is in Pisador’s vihuela book [pi005].

Ramón Menéndez Pidal, menendezpidalROMANCERO, vol. II, 55-7, reconstructs the text as, adding further verses based on unspecified sources, but not in quatrains that fit the musical structure, although he does explain the historical context. Gonzalo Menéndez Pidal made a second reconstruction using other contemporary glosses, parodies and versions “a lo divino” [menpidal-gonz1960, p. xxv] that fits the music better:
A las armas Moriscote, / Si las has en voluntad / Los franceses son entrados, / Los que en romería van. //
Entran por Fuenterrabía, / salen por San Sebastián, / no se esconden los traidores, / que muy descubiertos van; //
los vestidos que llevaban / arneses son de justar; / bravos son los enemigos / y muy poderosos van.