The tunes upon which these four dances are founded are of folk origin, most of them taken from a collection assembled by Norwegian composer Ludvig M. Lindemann (1812-1887). In fact, Grieg appended to the title of this work the phrase "after Norwegian themes." His use and development of these folk melodies fits a fantasia-like treatment here more than a symphonic one. The opening dance (Allegro moderato e marcato) is derivative of a so-called "halling," a Norwegian country dance possibly having Scottish origins. The music has a lively, celebratory air about it in the outer sections, while in the central part it is initially subdued and somewhat exotic, but intensifies before yielding back to the main material. The second dance (Allegretto grazioso) is also taken from a halling, but revels in a serene and relaxed atmosphere, confident and utterly joyful in its nonchalance. The middle section is lively and playful. The third dance number, marked Allegro giocoso, draws on a melody used for a spring dance from the Aamot region, in Hedmark County, Norway. It begins in a playful, subdued manner but turns festive and vigorous, then yields to a mostly relaxed middle section. The last dance opens with an Andante introduction, after which a march (Allegro molto e risoluto) is introduced that bears similarity to the main theme in Sibelius' 1893 tone poem En Saga. Yet, the likeness is purely coincidental since Grieg's thematic source was a country ballad. The lovely trio section here features the melody from a folk wedding song from the Valders region. At around ten minutes, the last dance is the longest of the four by far, and probably the most substantive as well. Together, the four dances have a duration of nearly half an hour. Grieg originally wrote them for piano, four hands, but while that version was a well-crafted effort, it cannot supplant the more colorful and musically appropriate orchestral rendition.

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