The rubric at the head of the tablature indicates “This soneto imitates the tune (sonada) that says “Si tantos monteros”. This indicates the use of the title “soneto” in the sense of “little tune”. It appears to be based on the same tune that was used by Narváez for his variations on “Si tantos halcones” (na026), but Valderrábano’s title indicates that the indication “contrahecha” could better be described as “reworked” rather than strictly imitating the song. Elements of the tune that is given below drrawn from the red ciphers in Narváez’s version are freely reworked in a way the recalls the techniques that Valderrábano used in his parody fantasias and so he may well be the author of this version. Valderrábano also used the opening theme as the initial theme of his Fantasia 25 (va112).
Narváez’s appears to be the earliest surviving setting of this villancico, presumably drawn from popular tradition. Even though Narváez varies the tune in each of his variations upon it, the theme appears to be based on two simple melodic phrases, indicative of its popular nature. Among the related vocal versions, P-Ln CIC no 60, fols 48v-49, [no 38], uses the title “Si tantos monteros” (edited in moraisVCR), although its music is independent of the vihuela versions, although based on same popular tune. The poem is apparently of popular origin, but appears to have given rise to other related versions in more elegant verse by composers such as: Gutierre de Cecina, “Como garza real, alta en el cielo..” (Nº 152 en la edición de López Bueno). Further versions are given in alonso2003.
This piece is given as “Soneto VI” in pujol1965.