Composed in 1887, premiered in 1892, and published in 1910. Dedicated to Joaquín Malats.

It consists of an Introduction and seven improvisational waltzes. Each is a short piece, lasting approximately 1 to 2 minutes. Many of the pieces show the influence of Schumann. The entire collection is performed continuously, with a total performance time of approximately 14 minutes.

A recording of this collection by Granados himself on a player piano exists. Granados also performed this work at a recital held on January 23, 1916, shortly before his death.

1. Introduction

A major, 2/4 time, Vivace molto. A vibrant opening piece. It is played brilliantly throughout, mostly at ff. Upward and downward melodic figures are freely combined, composed improvisationally. It would be enjoyable to express this with a playful, almost jocular, awareness. The piece ends on the dominant, leading directly into the next waltz.

2. I. Melodic Waltz

A major, 3/4 time, Placidamente. Composed in A-B-A ternary form. The calm and warm melody is simple yet beautiful. The B section is a variation of the A section, to be played with a slight sense of tension.

3. II. Passionate Waltz

F major, 3/4 time, Tempo de Valse Noble (at the tempo of a noble waltz). Despite the title 'Passionate,' it doesn't convey much intensity; rather, it's an elegant waltz. To achieve a 'passionate' expression, it might be effective to be mindful of which notes the music aims for within each phrase. A-B-A form. The light B section should be played with a playful spirit.

4. III. Slow Waltz

D minor, 3/4 time, Tempo de Valse Lento. A waltz that evokes deep sorrow. Played slowly. Performed in A-B-A form. The B section changes atmosphere from the A section, becoming a somewhat brighter, graceful waltz. Play lightly, but without becoming too cheerful.

5. IV. Humorous Waltz

B-flat major, 3/4 time, Allegro umoristico (humorous). Schumann-esque. If four measures are considered as one large unit, the changes every two measures create a significant swing. A-B-A form. The middle section is in G minor, Più vivo. In contrast to the innocence of A, it should be played expressively, utilizing a mature phrasing.

6. V. Brilliant Waltz

B-flat major, 3/4 time, Allegretto elegante. A graceful waltz melody is sung richly over the resonant, thick accompaniment. A-B-A form. Compared to the A section with its thick texture, the B section should be played gently and delicately.

7. VI. Sentimental Waltz

F-sharp minor, 3/4 time, Quasi ad libitum (sentimental). At a slow tempo, a sorrowful melody unfolds. A-B binary form. The A section should be played with a somewhat ponderous feel, incorporating florid passages. The B section, con molta espressione. The music progresses with increasing drive, as if searching for hope. However, it quietly concludes the piece in a subdued mood.

8. VII. Butterfly Waltz

A major, 3/4 time, Vivo. The high-pitched passages, reminiscent of butterflies flying, are striking from the beginning. Play lightly, delicately, and with brilliant sound. The contrasting lower voices should be played richly. The middle section, where the butterflies seem to rest their wings, is also charming. A captivating piece.

9. VIII. Ideal Waltz

A major, 6/8 time, Presto. The first half is rhythmic and vibrant. Within this, dynamic and quiet passages create an interesting contrast. In the latter half, the first piece, 'Melodic Waltz,' is played again, which gives the entire collection a sense of unity. The piece concludes gently and quietly amidst a calm resonance.