These dozen pieces qualify as pseudo-folk music and are wholly original works, stylized and slightly ironic, and inspired by the Brazilian folk style. Villa-Lobos made more of their indigenous nature than perhaps is justified, going out of his way to define Seresta as "a new form of vocal composition reminiscent of all kinds of traditional serenades, all [tunes] of our...wandering minstrels, of various songs and calls of our wagoners, cowherds...[who come from] the hinterland, and also from the Brazilian capital." The texts are not traditional, but are the work of various then-living Brazilian poets, including Alvaro Moreyra, Manuel Bandeira, and Olegario Marianno. What most of these songs have in common are straightforward but folkish melodies, fairly simple accompaniment, and an air of sadness or nostalgia. Eleven of them are for solo voice and piano, but, perversely, the third is for chorus and piano, making performances of the complete cycle impractical. "Pobre céga" (Poor Blind Woman) modally wavers over a spare ostinato, and "O anjo da guarda" (The Guardian Angel) keeps the simple accompaniment in the piano's singing middle register, with the voice an octave above. "Canção da folha morta" (Song of a Dead Leaf), the choral number, is one of the most folklorish pieces, with a catchy, syncopated refrain. "Saudades da minha vida" (Longing of My Life) is a highlight of the set, with its broad, expressive melodies arising from a simple chordal accompaniment. "Modinha" is a stylized version of the Brazilian folk song of that name, with a guitar-like accompaniment. "Na paz do outono" (In the Peace of Autumn) dangles a simple, triad-based tune over a syncopated accompaniment. "Cantigua do viuvo" (Song of a Widow) is another song with the piano imitating the plucked guitar. "Canção do carreiro" (Song of the Wagonman) arises from two motifs heard first in the accompaniment; Villa-Lobos claimed it was based on the "wild themes" of Brazil's cowboys and indigenous peoples. His setting of Ribeiro Couto's poetry was so free and full of repetitions and glissandi that the poet insisted the song be revised. "Abril" is a nature scene in April. "Desejo" (I Desire) is a humorous Rio street scene. "Redondilha" (roughly, Ring-o'-Roses) is another witty song, this time employing extensive vocal glissandi. "Realejo" is a waltz that parodies the inexpressive music of the hand organ of the title.

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