This popular set of eight pieces is a fairly early composition, quite different from the mature works, such as Iberia, for which Albéniz is principally known. Each piece represents a specific region of Spain and is cast as a dance, song, or musical form characteristic of that place. Without exception, they are technically easier than Iberia, but the writing often imitates guitar figurations rather than pianistic ones, making for some interesting interpretive problems. In spite of its early place in the chronology of lbéniz's output, the entire suite is highly effective and subtly evocative. Although playable as a suite, the various pieces are often heard separately, frequently in one of the orchestral versions done by Arbós and others.

"Granada" (Serenata) is a graceful serenade evoking the strumming of the guitar in simple tonic-dominant harmonies against a characteristic melody. "Cataluña" (Curranda), a Spanish-style courante, is a lively dance in 6/8 time, recalling an early Romantic hunting song. "Sevilla" (Sevillanas) is a flamenco-style dance of Andalusian origin, and here Albéniz creates one of particular grace. The typical flamenco rhythm underlies a lyrical melody in the main sections, while the two hands play a recitative-like melody an octave apart for the contrasting sections. This is one of the best-known pieces from the suite. "Cadiz" (Saeta) is another type of song of Andalusian origin, primarily religious in nature and usually sung at Lent to accompany outdoor penitential activities. Once again, Albéniz evokes typical guitar figurations in the accompaniment, while the right hand plays a lyrical melody.

"Asturias" (Legend), more famous in its guitar transcription, is in three parts. The first has a hypnotic melody emerging from a repeated single-note ostinato and building to a climax, while the second is a dramatic and haunting recitative, evoking the narrative of a legend. The third part is an exact repetition of the first part, with a short coda added. This number is equally as well known as "Sevilla." "Aragón" (Fantasía) is the longest and most pianistically virtuosic piece of the suite. It alternates a rhythmic dance with a slower central stanza that imitates, once again, typical guitar figurations. At one point, before the brilliant presentation of the main material, Albéniz recalls the opening piece of the suite, creating a cyclic link, musically and emotionally, with "Granada." "Castilla" (Seguidillas) evokes a seguidilla, a song and dance of southern Spain that alternates sung lines with guitar interludes. This alternation is brilliantly evoked in the contrasts of piano figuration in this rhythmic dance. "Cuba" (Notturno) is more a dance than a nocturne, its main section suggesting the African-inspired rhythms of the Western hemisphere with its gentle hemiola cross-rhythms. The central section is more lyrical and nostalgic, in keeping with the title.

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