Charles Griffes did not title this manuscript, nor is it dated. The only way one is able to tell when it was written is by Griffes' diaries, in which he wrote almost every day. Much of what is known about the composer comes from these diaries, and it is fortunate that they exist. Only one entry was made in the diaries about a dance in A minor, and that was written by Griffes in 1916. This piece was not published, and it is interesting to note that Griffes' published manuscripts differ in style from his unpublished ones. This manuscript is similar in many ways to his other pieces written in 1916 that were not published. Hence, because of the style of the piece, and the entry in his diary, it has been determined by Griffes scholars that this untitled manuscript by the composer is indeed his Dance in A Minor.

It seems that Griffes sketched out two different endings to the Dance in A Minor. In one sketch, the manuscript appears to be complete, except that Griffes did not write an A minor chord on the last beat. This has been added by scholars of Griffes' work and makes more sense musically with the extra chord. Without this, the piece would end with fast scales flying upward on the piano keys to nowhere. The other ending consists of mostly quarter-note chords, without any fast runs, although enharmonically, the ending is the same as the previous one. This second sketch is considered to be Griffes' intended ending of the piece, and so it is this ending that is used when playing the piece.

The Dance in A Minor is a tarantella in 6/8 time. It is bright and fast in tempo, rhythmic, and is considered virtuoso in difficulty of playing. Griffes employs an ostinato bass line and the rhythmic device of hemiolas. This is one of the minority of pieces Griffes wrote that seems to have a happy, dancing quality to it, even though it is in a minor key. Many of his other works are sad and lilting in feeling. The piece starts out lightly, on higher notes, and then proceeds to large chords played with various degrees of syncopation. Griffes then combines the high, melodic notes with strong bass lines. The piece slows significantly in the middle, and then goes back to its dance-like quality. A long run of notes stretches from the middle of the keyboard all the way down several octaves, while higher notes continue in the right hand. The work ends with the rhythmic, but light, block chords mentioned above. Its last chord is high and light, not ending the piece as Griffes often does with a large, heavy, block chord in German Romanticism style. The piece is energetic and entertaining, somewhat of a change from many of Griffes' other piano pieces and certainly his songs.

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