Brazilian choral music has had a rich compositional tradition dating from the 16th-century, including periods of outstanding craftsmanship. At the beginning of the 20th-century, Brazilian Nationalism found expression in the Modernist movement. However, it was challenged by the expansion of a non-nationalistic aesthetic brought from Europe during the World War II. As a result, altercations between Nationalism and vanguard flourished in the 1950s. Ronaldo Miranda’s output exemplifies the eclectic mix of influences that permeates the works of the generation that followed this period of radicalization. The present document focuses on the description of three choral pieces by Miranda based on poems by Fernando Pessoa. The compositional devices used by the composer are described, as well as the relationships between the musical ideas and the poetic content. The research shows how the composer’s favor of traditional formal designs and triadic harmony is combined with new possibilities on the use of the voice and with unconventional harmonic chains. Through this study, it was possible to capture essential information for conductors to shape interpretative decisions on this repertoire. The main issues related to the pronunciation of Brazilian Portuguese are considered, and a rehearsal methodology to work with nasal vowels for singing is addressed. This treatise culminates with the presentation of the edited scores with International Phonetic Alphabet transcriptions in an appendix. The document also includes a table with words in English or Italian that have the same sounds present in Brazilian Portuguese. KEYWORDS: Ronaldo Miranda; Brazilian choral music; eclecticism; tradition and experimentation; unconventional harmonic chains; choral rehearsal techniques, performance practices; edited scores; Portuguese poetry; Fernando Pessoa; pronunciation of Brazilian Portuguese for singing; nasal vowels for singing; International Phonetic Alphabet transcriptions.