Oborozukiyo (Misty Moonlight Night, 1914), Chazumi (Tea Picking, 1912), Momiji (Autumn Leaves, 1911), Yuki (Snow, 1911), Yuyake Koyake (Sunset Glow, 1923)

The original arrangement, commissioned in 1979 by the Tokyo Broadcasting Children's Choir (now NHK Tokyo Children's Choir), consisted of four songs adapted from Monbusho Shoka (Ministry of Education songs) to suit the four seasons, arranged for two-part children's chorus and two pianos. While various song collections were compiled by the Ministry of Education, the four selected songs are found within the Jinjo Shogaku Shoka (Songs for Elementary Schools) for grades 1 to 6, published between Meiji 44 (1911) and Taisho 3 (1914). The fifth song, “Yuyake Koyake,” is unrelated to the seasons and is not even included in the Monbusho Shoka; this is because it was originally arranged for an encore. The premiere by the Tokyo Broadcasting Children's Choir featured Fuzio Furuhashi as conductor, with the composer himself and Yoko Tanaka on pianos. Subsequently, in March 1981, a version with one-piano accompaniment was created for the choir's European performance tour.

These pieces gained wider popularity after the four-part mixed chorus version premiered on March 17, 1983 (performed by the Tokyo Mixed Chorus, conducted by Nobuaki Tanaka, with the same pianists as in 1979), and this version was published by Ongaku No Tomo Sha in 1988. In addition, an orchestral accompaniment version was created in 1987 by Akira Suzuki, a disciple of Miyoshi, at Miyoshi's own nomination. In 2004, Miyoshi himself arranged a male chorus version (which can be performed with either two pianos or one piano). Furthermore, the original children's chorus version is sometimes sung by female choruses, making it arguably Miyoshi's greatest hit arrangement.

The two-piano version was revised in late summer 1986 for pianist Yoko Tanaka, who premiered the work with Miyoshi. While all pieces generally follow the structure of their choral versions, “Yuki” and parts of “Yuyake Koyake” include modulatory harmonies, reminiscent of the “Silver Rose” leitmotif from R. Strauss's Der Rosenkavalier, which are not present in the choral versions. For the ending of “Yuyake Koyake,” two versions are prepared in the choral arrangement, but only the one that gradually diminuendos is adopted in the two-piano version.