This is a collection of pieces composed with the concept that children with small hands can play them without using the pedal. It was published in 1984, when the composer was 47 years old. It consists of a total of 24 pieces, each with a title. Illustrations are also included in the score.

No. 1 "Evening Glory Blooms"

Gently, F major, 4/4 time

Composed of melody and chords, the overall range is concentrated in the middle register of the piano. While the melody is primarily played by the right hand, there are also instances where the left hand plays the melody. The end of each melodic phrase often has a duration of a half note, as if speaking. The composer of this piece advises to sufficiently sustain the length of these half notes.

No. 2 "Goodbye"

Gently, G major, 3/4 time

Beginning with an anacrusis, the right hand plays the melody, and the left hand plays an accompaniment reminiscent of a waltz. This left-hand accompaniment often places a rest on the third beat, enhancing the distinctive anacrusis-driven melody. The composer of this piece advises to avoid accenting the first beat of the melody and to express a swaying feeling with the left hand.

No. 3 "Lulu's Lullaby"

Gently, F major, 4/4 time

A piece with sections where the right and left hands converse, and sections where they speak together. The composer of this piece advises to play the legato beautifully and to seek a transparent sound.

No. 4 "Koropokkuru in the Moonlight"

Brightly, lively, E major, 3/4 time

"Koropokkuru" is an Ainu word meaning "people who live under the leaves of butterbur." There are sections where the left hand interjects with the melody played by the right hand, and sections where the right and left hands advance the music together. Also, near the end of this piece, there is a section with hemiola. In this piece, a tenuto is mainly placed on the first beat, and staccatos on the other beats. The composer advises to play these staccatos with a light touch. Regarding the aforementioned hemiola section, the composer advises to advance in one breath with a feeling of 3/2 time.

No. 5 "A Story from the North Country"

Gently, A minor, 2/2 time

This piece introduces the first minor key in the collection. It is primarily constructed around scalar melodic movement. In the middle section, a C major scale also appears. The composer of this piece advises to unify the touch of each note and to always maintain a sense of forward motion in the music.

No. 6 "Swaying Rapeseed Flowers"

Softly, swaying, C major, 3/4 time

In the first half, the right hand begins the melody with an anacrusis, leading the way. The left hand places a rest on the third beat, creating the "swaying feeling" expressed in the title. The composer of this piece advises to ensure that the second beat, which precedes the rest, does not become too short.

In the second half, the melodic phrases become longer, and the mood changes slightly.

No. 7 "Kangaroo Family Picnic"

Brightly, with a bounce, A major, 2/2 time

This piece, which makes extensive use of staccato and features alternating right and left hands, conveys a sense of lightness. The composer of this piece urges awareness that the first half forms a single unit of four measures, and to ensure that the occasional eighth-note scales do not stumble.

No. 8 "Playful Waves"

Gently, C major, 4/4 time

This piece is accompanied by an illustration of a flying fish. It is written in ternary form with a Da Capo sign. The middle section modulates to A-flat major, structured to build a climax. Overall, the right and left hands have phrases of different lengths, but the composer of this piece urges that the waves of the right and left hands differ in size and expression, and to play this 4/4 piece with a feeling of 2/2 time.

No. 9 "I Dreamed of Robert Schumann"

Flowing, D major, 2/2 time

The technique of creating chordal resonance while sustaining notes in this piece is reminiscent of Schumann's style. The final chord created in this manner consists of five notes: D, E, F-sharp, A, and B. However, because the added notes E and B are present where the D major tonic chord (D, F-sharp, A) resonates, it does not result in a muddy sound as if all five notes were played simultaneously. The composer of this piece draws attention to the fact that after three consecutive phrases, each forming a four-measure unit, the middle section becomes a long phrase of 14 measures.

No. 10 "Dancing Acorns"

Brightly, energetically, C major, 4/4 time

A piece characterized by staccato and dotted rhythms. It also makes extensive use of chromatic melodic movement. Before the opening theme reappears, a "poco ritardando" indication is always added. The composer of this piece urges not to break the bouncing rhythm, and to ensure that the staccato is not too stiff or too sharp.

No. 11 "Sad Dream"

Sadly, B minor, 3/4 time

A piece that includes repeated notes within long phrases. Instructions are given to always play legato and with great expressiveness. There are also sections where notes are held down while changing fingerings, making it a "difficult" piece in that regard. The composer of this piece emphasizes the importance of the touch for repeating the same notes legato.

No. 12 "Frog Parents' Stroll"

Peacefully, G major, 4/4 time

The rhythm of the melody in this piece, played by the right hand, is cheerful. The left hand, with rests on the strong beats, deepens its charm. In the middle section, the frog parents engage in a heartwarming conversation. The composer of this piece urges to play this conversation humorously and with warmth, and to ensure that the staccatos overall do not become too sharp.

No. 13 "Chiro's Funeral"

Mournfully, D minor, 2/2 time

This piece is accompanied by an illustration of Chiro the puppy's grave. The melodic figure moving back and forth between the three notes D, E, and F seems to express a somber feeling. The composer of this piece advises to ensure that the left hand, when playing such figures, does not become heavy.

No. 14 "April Serenade"

Gently, B-flat major, 6/8 time

This piece is sprinkled with chromatic melodic movements in places. In the latter half, the left hand's range rises slightly, seemingly expressing an uplifted feeling. The composer of this piece advises to ensure that the tenuto on the anacrusus of the melody does not become heavy. The composer also emphasizes the importance of singing the melody beautifully with legato.

No. 15 "Staccato-Legato Rhapsody"

Lively, B-flat major, 2/4 time

A piece characterized by the contrast between staccato and legato. The left hand in the middle section is centered on syncopated rhythms. In this section, the right hand's melody also occasionally features syncopated rhythms. The composer of this piece advises to ensure that the syncopation does not become heavy, but rather moves forward.

No. 16 "Journey Through the Savannah"

Calmly, C minor, 3/2 time

There is a main motif that appears throughout the piece. This motif is predominantly staccato. In the middle section and coda, notes with long durations appear in contrast to this motif. The composer of this piece urges that the staccato not be too short, and to imagine sounds spreading across a wide space. The title "Journey Through the Savannah" can be seen as an expression of the composer's desire to value sounds that evoke a sense of space.

No. 17 "Metronome Teatime"

Lightly, with a bounce, G major, 2/2 time

The title of this piece is witty. The composer urges that playing at a mechanical tempo like a metronome is not enjoyable, and that the natural flow of the music should be valued. There are both legato and staccato sections, which are sometimes contrasted between the right and left hands.

No. 18 "Kitten's Nap"

Flowing, A-flat major, 2/4 time

This piece is accompanied by an illustration of a kitten lounging on a sofa. Primarily, the right hand plays syncopation, and the left hand plays quarter notes that align with the meter. The composer of this piece advises to play somewhat languidly and sweetly, and to ensure that the syncopation is not accented.

No. 19 "Merry March of the Skeletons"

Crisply, G major, 4/4 time

The rhythm of this piece is comical. Both the right and left hands play this rhythm together almost throughout. This piece is accompanied by an illustration of skeletons marching forward in a line, with the first two holding hands. The composer urges that by relaxing the whole body, this piece, which may seem rhythmically difficult, can be played enjoyably, allowing one to experience a strange cheerfulness.

No. 20 "Abandoned Boat"

Flowing, B-flat major, 6/8 time

A piece where the left hand begins first. The right and left hands do not have a melody-accompaniment relationship; both play a barcarolle rhythm. The composer of this piece urges to play the legato beautifully and to carefully play the sections where the right and left hands clash at a second.

No. 21 "Autumn Barcarolle"

Swaying, F-sharp minor, 5/4 time

Similar to the previous piece, the left hand begins first. This left hand plays an ostinato. The right hand, riding on this ostinato, sings a melody with long note values and long phrase breaths. The composer urges that maintaining tension is necessary to carry the music with the left hand's ostinato.

No. 22 "Red Moon and Dwarf's Dance"

A little playfully, but without losing a gentle feeling, A minor, 3/4 time

First, the right and left hands play alternately, one beat at a time. In the middle section, while detecting the upper voice melody, both hands play chordal accompaniment. The composer urges to ensure that the musical flow does not stagnate in this middle section, that the staccato does not become sharp, and that accented fortes do not become rough.

No. 23 "Southern Wind"

Gently, refreshingly, D major, 6/8 time

The title of this piece is also the title of this collection. Over the left-hand accompaniment, which uses many chromatic melodic movements, the right-hand melody, freely combining various intervals, is sung. In the middle section, chromatic melodic movements also appear in the right-hand melody. The composer advises to musically express the feeling of this middle section building up chaotically, then subsiding, and leading into the recapitulation.

No. 24 "Into the Jungle's Darkness"

Calmly, F minor

This piece frequently changes time signatures between 4/4, 5/4, 6/4, and 9/4. And spanning such changes, long note values are sustained across bar lines. The composer of this piece advises to play while considering the unity of phrases, without being confused by the dizzying changes in time signature.

No. 25 "Song Sung by Horsetails"

Lightly, E-flat major, 12/8 time

A piece where the right and left hands weave a single line. The composer recommends a practice method where the chords, which are arpeggiated between the left and right hands, are initially played together like a chorale to become thoroughly familiar with the harmony of this piece, and then played as written in the score.