This is presumably an intabulation of a four-voice Italian composition, probably a frottola or similar genre, give the repeats and sectionalisation. The music is notated with the soprano part on a separate mensural staff, with the three lower voices intabulated below for a vihuela in A. The imitation between the voices at the beginning is the most obvious suggestion that it is an intabultation. The tablature is divided into sections. The first 38 compases are on fol. 34. The music continues on fol. 34v, incuding an 8-compas repeated section. There is a break in the tablature to introduce a triple metre section with the rubric “Esta proporción es de seys seminimas al compás, se ha de tañer el compás algo apresurado” [this proportion is of six semiminims per tactus; it has to be played with a quite quick beat.]

The following are settings of the same text, but no musical relationship has yet been established:
• A four-part polyphonic setting of the same text has been identified in a set of part books dates from ca. 1520: I-Vnm, MS It. IV. 1795-1798 (Venice, Bibl. Marciana) [RISM: I-Vnm 1795-98], fols. 63v-64. Further information in DIAMM: https://www.diamm.ac.uk/sources/2650/#/ (consulted 25/04/2017)
Incipit: Se in me estremo e I'ardor el ghiaccio estremo.
• Another possible concordance is the setting of “Si come estremo ardore” in Albert de Rippe, Sixieme livre de luth (Paris: Fezandat, 1558). Brown 1558/6, nº 6.
• Recording on Cantar alla Pavana, Consort Veneto, dir. Giovani Toffano, Tactus (1996) solo voice with viols. The melody is the same as the Valderrábano version.

Gil reports a modern transcription in Apografo misceltaneo marciano. Frottole canzoni e madrigali con alcuni alta pavana in villanesco, ed. Francesco Luisi, (Venezia: Edizioni Fondazione Levi, 1979) (gil2017, 386)