2. Will o’ the Wisp (Swift and light; fancifully).  This is a very imaginative piece, full of mysterious and shadowy lightness, and swift of movement.  It seems to just float over the keys and in its general effect is fascinating and spirit-like, with dancing little lights flickering in the shadows.

3. At an Old Trysting-place (Somewhat quaintly; not too sentimentally).  This is the shortest piece of the set, and is only thirty bars long.  It is cramped into one page in the current edition of the sketches.  The melody is tender, undulating and expressive and is supported by full but always clear chords, with typical modulations.  The broadness of the chord writing, together with the general tone of the piece as a whole, seems to call for orchestral colouring and foreshadows MacDowell’s most advanced period.  As a whole, it is contemplative, expressing the wistfulness of one who stands at a quiet place, musing on bygone meetings there.

4. In Autumn (Buoyantly, almost exuberantly).  MacDowell threw an irresistible joyous excitement into this piece (as he did later in the superb The Joy of Autumn, from New England Idyls, Op. 62). In Autumn opens with a brisk staccato theme, followed by little chromatic runs which seem to suggest the whistling of the wind through the tree-tops.  A middle section brings a complete change of mood, as if questioning the elements.  A mysterious and fanciful little passage leads to a resumption of the opening joy of existence.  In short, this piece is most exhilarating, and pulsates with life and with an exuberance that is most infectious.

5. From an Indian Lodge (Sternly, with great emphasis).  This is as strong and impressive a piece as MacDowell ever composed for the pianoforte.  From the first bar the note of the stern stolidity of the Red man is struck.  The rude, elemental power of the bare octaves of the introductory bars is unmistakable.  The ensuing stolid oration, punctuated by emotionless grunts, is an ingenious musical sketch of a pow-wow scene in an Indian wigwam.  The piece closes with a reminiscence of the last part of the introduction, first softly and then very loudly, the final chords being of orchestral-like sonority.  The whole composition is one of the best in the set for showing MacDowell’s ability to create atmosphere.  The scene of the Indian lodge is unmistakable.

6. To a Water-lily (In dreamy, swaying rhythm).  This is a remarkable little piece of lyrical tone painting.  It is in the key of F sharp major, and is mostly played on the black keys.  Its chords are rich and, except in the short middle section, scored on three staves, yet always with an effect of the utmost lightness of poise.  The piece is vividly suggestive of a water-lily floating delicately on quiet water, but in the questioning little middle section something seems to disturb the water, and for a moment the flower rocks uneasily.  The opening theme returns and the piece ends with the utmost delicacy of effect. To a Water-lily is generally admitted to be one of the most exquisite and perfect lyrics MacDowell ever composed for the pianoforte.