Valderrábano’s version is reprinted in Phalèse, Hortus Musarum [1552/11], Nº 5, transcribed into French tablature.
Five settings are compared in detail in sohns1987: Narváez, Valderrábano, Pisador, Fuenllana, Vásquez (1560) and Uppsala (no 29). Gracia Gil (email communication 2/9/2012) also compared it with another polyphonic setting by Carreira (Coimbra). The melody in the Valderrábano setting is the only one that least conforms to the presumed popular melody on which the song is based, although it is still clearly related.

Valderrábano’s setting is original and not based on any of the other surviving versions. It is definitely not an intabulation of the Vásquez version in Recopilación de Sonetos y villancicos a quatro y a cinco (Sevilla, 1560).

Valderrábano’s setting only introduces the melody towards the end, although it begins with some clear motivic material based on the theme. The appearance of the melody seems like the resolution of an enigma rather than the melody of a song. It certainly does not conform to the standard moder notion of a performable song.

A comparison of the opening of the melody is included in the ANALYSIS page