The piece, which lasts about six minutes, was originally written for piano in the key of G minor. It was first published in Barcelona in 1892.

The name Asturias (Leyenda) was published posthumously by the German publisher Hofmeister, who included it in the "full version" of the 1911 Suite Española, although Albéniz had never intended the piece for this suite. Despite its name, this music is not associated with the folk music of the Northern Spanish region of Asturias, but rather for the Andalusian flamenco traditions. Leyenda, the subtitle of Hofmeister, means legend. The piece is known for the sensitive, intricate melody of its middle section and abrupt dynamic changes.

Albéniz's biographer, Walter Aaron Clark, describes the piece as "pure Andalusian flamenco". In the main theme, the piano mimics the guitar technique of alternating the thumb and fingers of the right hand, playing a pedal-like open string with the index finger, and a melody with the thumb. The theme itself suggests the rhythm of the bulería - a fast flamenco form. The "Marcato" / "Staccato" markings suggest both guitar sounds and the footwork of a flamenco dancer. The piece sounds like it was written in Phrygian mode that is typical of bulerías. The second part is reminiscent of a verse copla-a that follows a specific form. Clark says it is written in the typical Albéniz form because it is presented "monophonically but is doubled on the fifteenth for more fullness of sound."

The music alternates between a solo and an accompaniment that is typical of flamenco. The short middle part of the piece is written in the style of a malagueña - another piece in flamenco style. The malagueña borrows two motifs from the previous copla and builds on them. The piece returns to its first theme until a slow "hymn-like" passage ends the piece.