Rubric: “This villancico that follows in the way that it is here is so that the singer can embellish and the vihuela goes along playing very slowly”

It is one of Milán’s original vihuela settings in a predominantly homophonic style. The harmonic language is strongly diatonic. Some commentators have attempted to associate it with some of the common song formulae of the time, but this does not appear to be the case. Lafargue, in a paper read at the Medieval and Renaissance conference (Spoleto, 2001) suggested affilition on the one hand with Conde Claros because of the I-IV-V progressions, and with Guárdame las vacas and the romanesca family given that it starts on chord III and finishes on I. Two other songs by Milán, Quien amores, Falai miña amor, are also built on the same iI-IV-V harmonic structure. Lafargue does not make this claim in her PhD thesis, however.

With a vihuela in A, the mode appears to be mode 2, transposed a tone lower. In effect, the harmonies indicated here (C and E-flat) make much more sense when understood as D and F respectively

Musical (Harmonic/melodic) structure:
Estribillo: A - A - B - B’
Vuelta: C - D

harmony:
A (in Eb): I - IV- V - I - V - V- I

B: (Eb) I -IV - V - I / I - IV - V - I // (Cmin) iv -V - i