A collection of four pieces published by Henri Lemoine in 1957. Each piece is untitled. It is uncertain whether they were written for educational purposes, but they entirely lack the virtuosic elements, such as glissandos, often found in Damase's works, making them easily accessible to learners.

Movement 1: Allegro moderato

Composed in Lime in December 1956. The right hand repeats a consistent, simple sixteenth-note pattern, supported by a left-hand accompaniment with frequent leaps. Based in C major, the tonality shifts frequently. The subtle gradations of color brought about by the modulations, and the right hand's tendency to move towards higher registers, imbue the music with an unreserved brightness, similar to many other works by Damase.

Movement 2: Andantino

Composed in Buenos Aires in October 1956. The right hand plays a chromatic, slow monophonic melody, while the left hand accompanies, frequently employing augmented fourths, diminished fifths, and diminished sevenths. Unusually for Damase's works, it lacks a clear tonality, and consonant intervals are rarely used. The music possesses an ambiguous, unsettling atmosphere.

Movement 3: Presto

Composed in Santiago in November 1956. Throughout the piece, a single melodic line progresses lightly, interspersed with wide leaps and arpeggios. Similar to Movement 2, the tonality is not clearly defined, but C major becomes clearly discernible towards the end.

Movement 4: Allegro vivo

Composed in Lyon in December 1955. Like Movement 1, it is in C major. It also shares with Movement 1 the appearance of simple and memorable material. A lively opening motif featuring wide leaps, and a motif where melody and accompaniment are clearly separated and take on a somewhat sweet hue, alternate gently. The familiar melody that appears when the latter motif returns for the second time, and the immediate modulation thereafter, are typical examples of the cheerfulness and elegance characteristic of Damase's works.