Pisador’s incipit states: “A French chanson, Sparsi sparcium, with a small amount of gloss so it is not so plain” but the piece is, in fact, an intabulation, slightly glossed of Sebastiano Festa’s madrigal “O passi sparsi” The vocal polyphony has a strong quasi A-minor tonality, in modal terms, mode 2 transposed to A. The madrigal was first published in 1526 in Pasoti & Dorico’s Libro primo de la Croce (No.4). Lasso based an imitation mass upon it. See: Orlando di Lasso, Sämtliche Werke, neue Reihe, Band 12. Messen 64-70 (pp.218-21), Kassel: Bärenreiter Verlag, 1975.