A "ciranda" is a Portuguese circle or round dance originally performed by adults, but in Brazil, it mostly became the pastime of children. One participant stands inside the circle and sings while the others hold hands and sing around him or her. In these piano pieces, Villa-Lobos created an atmosphere guided by the spirit and feeling of each simple melody, as he had in the previous year's Cirandinhas or "little cirandas."

"Terezinha de Jesus" is built on an unabashedly celebratory rhythm, with an introspective, romantic melody for the midsection. (Most of the "cirandas" have an ABA structure). Terezinha is a small municipality in Pernambuco.

"A Condessa" (The Countess) has a touching, nostalgic melody and a suddenly on-rushing midsection, all of which clearly shows the influence of the Schumann and Chopin compositions beloved by the composer's wife, pianist Lucília Guimarães.

"Senhore Dona Sancha" is depicted in a bravado melody with pulsating dissonant accompaniment in the midsection.

"O cravo brigou com a rósa" (The Carnation Fought with the Rose) opens with furiously energetic tremolos, but proceeds on to a child-like major tune.

"Pobre céga" (Poor Blind Woman) depicts the lady slowly finding her way by probing (short grace note stabs) and making sudden confident movements that come to a halt.

"Passa, passa, gavião" (Go away, go away, Hawk) has a protesting little melody and rapidly rotating figures throughout that, depending on your point of view, depict either the flight of the bird or the fleeing victim.

"Xô, xô, passarinho" (Shoo, shoo, Little Bird) begins with a pesky figure repeated in the deep bass; this may be a little bird but a big annoyance. A lazy, calm feeling pervades the middle section.

"Vamos atraz da sérra calunga" (Let's go to the mountain, Calunga) features an adventurous rhythm and complex harmonies suggesting a strenuous climb, and a jazzy section depicting the joy of sightseeing.

The swift arpeggios of "Fui no Tóróró" (I went to Tororó) against a slower, peaceful melodic line seem to indicate a journey by air or sea, and the anticipation of a warm greeting.

"O pintor de Cannahy" (The Painter of Canai) interweaves a comic accompaniment against a slightly heartbroken lyrical melody in a three-against-four rhythm.

Something tragic and angry must have occurred in "Nesta rua, nesta rua" (In this street, in this street) for the chords are strident and dissonant, but later contrast with a sad tune.

"Ohla o passarinho, Dominé" (Look at the Little Bird, Dominé) flies along delicately at a dizzying rate.

"A procura de uma agulha" (Looking for a Needle) has a slowly exploring modal tune, accompanied by rich Satie-like chords. Sudden excitations reveal mistaken discoveries.

"A canôa virou" (The Canoe Capsized) opens with a happy traveling theme that soon becomes immersed in watery whole-tone harmonies.

"Que lindas olhos" (What Beautiful Eyes) has a rich impressionist and romantic melody surrounded by intimations of strangeness and tragedy.

"Có-có-có" (Chip, chip, chip) contrasts a melody played with little chippy grace notes against fast chord tremolos.

© All Music Guide