Rubric: “This villancico that follows is to be played so that the singer can embellish it: the vihuela has to go slowly. The proportion that is at the end of the villancico you don’t have to do if you do no wish.” Milán gives the setting of the last line of the ‘estribillo’ twice: first in duble metre, and then again in triple triple metre (compases 13-19). He indicates that this addition is optional, but does not make it clear whether it is an optional way of performing the duple version.

Lafargue cites this as the only example she knows in all the lutesong repertoire of a passamezzo antico setting (lafargue 1999, lafargue2003). This applies only to the first verse of the estribillo; the second phrase is harmonically distinct: III-VII-V, i-VII-IV-V-I

Vásquez1551 contains a similarly texted piece in a three voice setting: Perdida traigo la color, no 51. See edition in vasquezVC.