The work is dedicated to Niurka González and Malva Rodríguez. The title comes from a series of works that, at that time, I was interested in developing, establishing a link between the song and some element of mother nature, such as water, air, and earth. One element that represents the “song” is a small fragment of the melody of "Perla Marina" by the Cuban musician Sindo Garay, which appears briefly in the middle of the work. This relationship of the trova is not only linked through the music, but also through the performers to whom the music is dedicated. Silvio Rodríguez is one of the main representatives of the Nueva Trova, a personality who has a close family relationship with the performers.

The work has a neo-romantic conception from beginning to end. The introduction is a dialogue, like a recitativo between both instruments. This part presents no thematic material but introduces the listener to the space in which he or she will be enveloped. At the end of the flute's initial short cadenza, the piano responds with a motive already stated before, which will be developed by the flute in the next section. This can be differentiated through the change of the piano's voice, highlighted by the ascending and descending movement of the voice in the piano, which simulates the swaying of the waves.

The work presents different moods, as a symbolism of the gravitational force of the moon, which can influence the sea and the oceans. The appearance of the clusters in the piano is the closest thing to a forbiddance sentence in the work, as if trying to limit the voice of the flute. After this, the flute rises with a slightly longer cadenza, where it expounds on motifs previously stated in the piece, ending with a held note, sustained by a solemn, quiet moment in the piano. Suddenly, it is interrupted by the piano with the swaying motif, functioning as a recapitulation that leads to an apotheosis ending.