Romance setting in three voices. It is not entirely clear if this is an original composition in three voices or an intabulation of a three-part setting by an unidentified composer. The sung voice is the middle voice. It is unlikely that this would be the case in a song composed speciafically for voice with vihuela accompaniment. Another setting of the same text by Fuenllana [fu152] is apparently based on vocal polyphony by a composer named Bernal. The Valderrábano setting was one of those on the pioneer 1935 recording by Emilio Pujol accompanying Maria Cid. See: http://www.youtube.com/user/PujolDisciple [accessed 19-02-2008]

Ramón Menéndez Pidal, menendezpidalROMANCERO, vol. II, 55-7, reconstructs the text as, adding further verses based on unspecified sources, but not in quatrains that fit the musical structure, although he does explain the historical context. Gonzalo Menéndez Pidal made a second reconstruction using other contemporary glosses, parodies and versions “a lo divino” [menpidal-gonz1960, p. xxv] that fits the music better:
A las armas Moriscote, / Si las has en voluntad / Los franceses son entrados, / Los que en romería van. //
Entran por Fuenterrabía, / salen por San Sebastián, / no se esconden los traidores, / que muy descubiertos van; //
los vestidos que llevaban / arneses son de justar; / bravos son los enemigos / y muy poderosos van.