The manuscript scores of the two movements bear separate dedications: the first to Jacques Serres, the second to Tony Close and Maurice Raskin.

[2] These two short movements were not originally intended as part of the series of fourteen Chôros but, as their characteristics are similar to most of those compositions, Villa-Lobos proposed them as an "encore", in case such a thing might be required following a complete performance of the entire series which, prefaced by the Introdução aos Chôros, would last about three hours.

[4] The first movement is constructed from pentatonic sets, manipulated in various ways to create harmonic organization, and eventually to generate and maintain modal diatonic patterns.

At first, the pentatonic scale on A (A–C–D–E–G) is used by itself, without any "foreign" notes, and is presented in two significant subsets: the minor seventh chord (A–C–E–G)—a characteristic sound used by Béla Bartók in folk music-harmonization—and a pair of 035 trichords, sharing a common tone (E-G-A / A-C-D).

By transposing the basic five-note set a perfect fifth upward (to (E-G-A-B-D), Villa-Lobos first unfolds an A-Aeolian hexachord, and then adds the note F over a quartal harmony in bar 5 to complete the diatonic Aeolian mode.