6 diferencias on the villancico. Ros-Fabregas 1992, no 125, is a three-part setting of the same tune. Narváez’s tune corresponds to the estribillo. On the basis of the position ot the vocal work in Barcelona 454, Ros-Fabregas believes it is plausible that the model is by Flecha, but I would assume that it is a setting of a popular tune. R-F also points out in his commentary that the piece is not a villancico but a cosante, also known as a bailada encadenada or paralelística, songs traced back to dance songs from Portugal and Galicia in which a distich, each line sung by a different soloist alternates with a refrain sung by a chorus. Romeu (“El cosante”, p. 34) combined the Barcelona 454 and Narváez texts to give a more extended version, reprinted by Ros Fabregas, p. 479.

REPRINT
• Phalèse, Des chansons reduictz en Tablature, fol. h3 (Brown 1546-18, nº 34).