Rubric: “Here begin the ‘romances’ and they have to be played with chords slowly, and the ‘redobles’ which are at the end where the voice ends, very fast. The first part should be played twice and the second part in the same way. And playing the vihuela in this position, you need to raise the fourth fret a little towards the tuning pegs of the vihuela.” The first part of this rubric indicates that the first section is to be repeated, although without indication of a different text. The music is clearly divided and there is a clear indication in the tablature of the beginning of the “Segunda parte”. At the end of the tablature there is a further indication: “Boluereys al principio y acabareys el romance donde acaba la primera parte cantando esta letra que sigue. Y regios como ahora os digo y no como al principio del romance os dixe en su declaración.” [You shall go back to the beginning and end the romance where the first section ends. And do as I now say and not as at the beginning of the romance I told you in its declaration.” The added text reads: “
No dexado cosa avida
de quanto puedo matar
hasta que halle la muerte
que amor no me quiere dar.

Binkley gives it as “Romance de Moriana” and gives additional text with English translatin on pp. 109-110 taken from the Silva de varios romances (Barcelona, 1561).

The indication in the rubric of moving the fourth fret has been taken by Mark Lindley and others as indication that the temperament here should be more like meantone temperament. If the vihuela were normally tuned in a Phrygian temperament with large major third, such an adjustment of the fourth fret might simply bring the vihuela closer to equal temperament.

Pedrell erroneously attributes this work to Narváez in his edition in the Cancionero Musical Popular (Pedrell1918)