A villancico by Valderrábano with a moralistic tone about falling from the heightds into the depths of hell. The rubric indicates that it is in triple meter and that there are two variations. The opening section of the piece is marked as being in the “segundo grado” of difficulty, the following diferencia in the “tercero grado”, and the vuelta in the “primero grado.” The refrain of the villancico is set with a three-voice accompaniment in polyphonic style in bars 1-15. Text and melody are repeated in bars 16-29 with a new accompaniment based on a melodic gloss above the same harmonic scheme. This ornamental repeat is reminiscent of Milán’s song settings. Lafargue suggests that the folia pattern as underpins the musical structure (lafargue1999) but it seems more reasonable simply to identify it as the common harmonic language related to the passamezzo antico. The refrain is loosely based on the progression i–V, i–V, VII–i–V–i, VII–i–V–i. The vuelta, bars 30-44, is set to new music. Concerning the text, Pujol points to the José Romeu’s observation of similar text in the ensalada Bon Jorn by the polyphonis P. Alberch Vila, student of Mateo Flecha, that includes the text: “¡Zúnguele, zúnguele, Que el pecado, Hoy se consume! / ¡Ay jesús, Qué buena costumbre!”. Romeu also reports that a variant of the copla text “Y muera en las hondas el mal villano” occurs in the ensalada “Las cañas” by Mateo Flecha as well as in “Bon jorn” by P. Alberch Vila (pujol1965, I 47; romeu1958, 94). These highly transformed poetic similarities are particularly suggestive of a tradition of assembling songs from passages of existing music or text, in the manner of the ensalada.