As a result of the analysis of these two scores we discovered that they could bear a relationship with other scores of the same codex on the basis of musical or text analogies which could be traced back to the tragic events of Cajamarca. These scores are the following: "E. 191, Magestuoso Cachua la Despedida de Guamachuco"; "E. 190 Allegro tonada la brugita para cantar de Guamachuco" and "E. 187. Andantino Tonada El Diamante, para baylar de Chachapoyas". However our main interest was not to ascertain whether some "tonadas" of the codex could have been part of a theatrical performance of the capture and death of Atahualpa at the end of the colonial period. Indeed we are interested in interpreting these chants as bearing signs of a colonial discourse in two different aspects. On the one hand, the reinterpretation of such historical facts as the capture and death of Atahualpa, and on the other the lingering on of Andean codes in the remembrance of certain rituals such as the "ceremonial grieving". For the sake of musical analysis it was established the existence of a mode conceived initially as part of a system of modes of the Inca era related to the system of European church modes. We have named this mode as "Inca grieving" and we will consider its relationships with the ceremonial grieving of the times of the incas as well as its role in the transmission of meanings related to the colonial Andean rituals.