Mudarra’s setting of a sonnet by Garcilaso de la Vega, sonnet 6. The principal defect in Mudarra’s tablature is the omission of verse 11 of the poem (compases 49-55) instead repeating the text of verse 10. Pujol’s setting of verse 11 is given below. The setting, based on the range of the melody is mode 6. Roa mistakenly classifies it as mode 8. The same music is used for the two quatrains of the poem, with both underlaid under the same music. The sestet is largely through composed other than the repetition of the same music for verses 12 and 13, but with different endings to each verse. Roa suggests that Mudarra may have composed this earlier than the other sonnets as the style of both melody and accompaniment align more with his settings of romances. While the stylistic observation is valid, there is no basis for assuming the style to be earlier.

Pujol’s commentary sums up the music well: “The muse of Garcilaso and Boscán had a magnetic attraction for Mudarra.In this beautiful sonnet, in which the musician's inspiration blends so well with the poetic concept, in the verse that says: Allí por los cabellos soy tornado, the composer manages to adhere with brief ascending figures to the sense of fatal obstinacy with which adversity sometimes rages against destiny. At the end of the composition, a fourth tritone (c. 75) by successive degrees, gives particular attractiveness and nobility to the ending of the plainchant.” (pujol1949, 80)