palpi te infeliz - funarte te infeliz music by n oe l ro sa arrangement by ... nana caymmi, ivan...

BRAZILIAN MUSIC FOR BAND SERIES

PALPITE INFELIZmusic byNoel Rosa

arrangement byHudson Nogueira

PRESIDENT OF THE FEDERATIVE REPUBLIC OF BRAZIL

Luiz Inácio Lula da Silva

MINISTER OF CULTURE

Juca Ferreira

FUNDAÇÃO NACIONAL DE ARTES / FUNARTE

PRESIDENT

Sérgio Mamberti

EXECUTIVE DIRETOR

Myriam Lewin

DIRECTOR OF THE MUSIC CENTER

Pedro Müller

PROJECT COORDINATION BANDS

Rosana G. Lemos

COMMUNICATION COORDINATION

Oswaldo Carvalho

COORDINATION ISSUES

Maristela Rangel

© FUNARTE, 2008IMPRESSO NO BRASIL / PRINTED IN BRAZILFUNARTE EDITIONS

BRAZILIAN MUSIC FOR BAND SERIES

PALPITE INFELIZ music and lyrics by

Noel Rosa

arrangement byHudson Nogueira

SCORES FOR BAND – PUBLISHING PROJECT

GENERAL DIRECTION

FLAVIO SILVA / MARIA JOSÉ DE QUEIROZ FERREIRA

TECHNICAL DIRECTION, ADAPTATION, REVISION AND STANDARDIZATION

Marcelo Jardim

MUSIC PUBLISHING

Si Thoca Edições Musicaiswww.sithoca.comSimone dos Santos

PROGRAM NOTES

Marcos Vinício Nogueira

CONSULTING – TABLE INDICATING TECHNICAL LEVEL

Dario Sotelo

CONSULTING – FLEXIBLE INSTRUMENTATION/ARRANGEMENTS

Hudson Nogueira

ELECTRONIC EDITING – SCORE AND INSTRUMENTAL PARTS

Alexandre Castro – Sheila Mara –Leandro J. Campos – Bruno Alencar

ENGLISH TEXTS

Tom Moore

TEXT EDITING AND REVISION

Maurette Brandt

GRAPHIC PRODUCTION

João Carlos Guimarães

EDITORIAL PRODUCTION

Renata Arouca

COVER AND ILLUSTRATION

Rafael Torres

Fundação Nacional de Artes – FunarteMusic Center (Cemus)Rua da Imprensa 16, 13th FloorRio de Janeiro, RJ − BrasilCEP 20.030-120Tel.: (21) 2279-8106 - Fax: (21) [email protected]

III Brazilian Music for Band Series — Palpite Infeliz

BAND REPERTOIRE OF YESTERDAY, TODAY, AND OF ALL TIMES

The opportunity of resuming the process of publishing scores for band is a good reason forrejoicing at Funarte. In 1995 and in 2000, 14 titles from the series “Golden Repertoire

of Brazilian Bands” were released; in 2004, Funarte released the series “Hymns of Brazil”, withtwo titles. Presently 20 new titles are being published, ten of which in a new series called “BrazilianMusic for Band”, which includes high level arrangements of popular songs and some of the mostpraised classics of Brazilian popular music. The new series also highlights original works writtenspecifically for bands by composers of various periods, and opens space for transcriptions from theBrazilian symphonic repertoire.

These editions follow the international norms for publishing and the standardization of musicpieces for symphonic band, diversifying the supply of instrumental parts without losing sight ofthe most noteworthy characteristics of our bands, as well as making possible for small groups andbands, with reduced forces, to perform music using the same material. The process of publishingscores for band is a search of more dynamic ways to supply a market which is always eager fornovelties and information – and, at the same time, a means of keeping the traditions of our coun-try’s musical culture alive and in performance. Making this repertoire available and sharing infor-mation must be an ongoing and continuous task, so that it can produce good results. To this end,Funarte concentrates its efforts in producing and presenting the band repertoire of yesterday,today, and of all times.

.

Brazilian Music for Band Series — Palpite Infeliz IV

ABOUT THE NEW EDITIONS

With these new series of editions, Funarte intends to expand the contemporary literature for bands inBrazil, so as to quantify it and qualify it, with especial emphasis on the use of the technical and sty-

listic patterns of each piece, with the necessary revisions and annotations in terms of articulations, dynamics,accents, nomenclature, tempi, rehearsal markings, abbreviations etc.

In order to allow that standards adopted by bands worldwide be applied, it was necessary tomake adaptations to the original material - without, however, altering its melodic, harmonic, andrhythmic lines. Original orchestrations were maintained, with the addition of new information inthe area of timbre, in order to take the most advantage of present-day instruments.

The standard pattern adopted was: piccolo, flute, oboe, bassoon, Eb clarinet, Bb clarinets (3parts), Bb bass clarinet, quartet of saxophones (2 Eb altos, 1 or 2 Bb tenors, and Eb baritone), Fhorns (2 to 4 parts), Bb trumpets (3 parts), trombones (3 parts), baritone, tuba, contrabass(strings), timpani, mallets (xylophone/bells or glockenspiel), percussion (snare drum, crash cym-bals, suspended cymbals, bass drum, agogô, rattle, tambourine, ganzá, triangle, reco-reco, drum,complete drums). In some works, particular instruments were suppressed, such as tenor sax 2 andtimpani, when they were not part of the original instrumentation. Nevertheless, the directorshould note that the whole repertoire has its functionality guaranteed only with 1 flute, 1 Eb clar-inet, 3 Bb clarinets, 1 Eb alto sax, 1 Bb tenor sax, 3 F horns or Eb saxhorns, 3 Bb trumpets, 3trombones, 1 baritone, 1 tuba, and percussion (snare, cymbal and bass drum). Extra parts (notincluded in the instrumentation) will be printed for Eb saxhorns, Bb baritone in bass clef, as wellas Bb and Eb tubas, in all the editions.

BRAZILIAN MUSIC FOR BAND SERIES – FLEXIBLE INSTRUMENTATION

Flexible instrumentation in four voices was adopted in this arrangement, in order to makepossible its utilization with various formations, such as clarinet or saxophone quartet, wind

quintet, brass quintet, woodwinds only, brass only, with or without percussion, and even in unu-sual combinations – as well as in a complete symphonic band, of course. The conductor can choo-se to maintain all the doublings with the complete band, or even to promote creative situationswith the groups. All the instruments can be optional; it is important, however, to observe the voice(marked with letters A, B, C e D), since voices are related to the parts performed by each one. Thedirector has a mass of sound available for performances in the open air, and can also use the arran-gement in individual recitals performed by the musicians. Pay special attention to the Bb clarinet,which does not belong to the usual clarinet section (it is not identified as 1, 2, or 3), which shouldonly be used by the wind quintet formation.

Maestro Marcelo JardimTechnical Coordinator

Brazilian Music for Band Series — Palpite Infeliz VI

PALPITE INFELIZmusic and lyrics by Noel Rosa

arrangement by Hudson Nogueira

This is a work which very appropriately “translates” samba for the instrumentation in ques-tion. Already in the introduction (measures 1-8) one can observe the subtleties of writing

which must be taken into consideration by the performers in order to obtain the characteristiceffect of the samba, that is, its “accent”. We cannot forget that orchestras of winds (or even bands)do not constitute the typical formation for this genre originally belonging to ensembles of “woodand strings”, with the emphasis on fingered strings and woodwind soloists. Thus, any samba ded-icated to groups of winds (especially large groups) implies special care in working with variedmodes of articulation, accentuation and dynamics, resources fundamental to producing a success-ful interpretation. The work is composed structurally of a part A (measures 9-32; 57-80) and apart B (measures 33-48; 81-96), closing with a small coda. In the introduction one already findsthe principal melodic motives, as well as the textural elements shaping the piece. One sees thatNoel Rosa’s melody reveals the rhythmic essence of the genre, thus inserting itself in the texturalensemble as integral part of an authentic batucada distributed through the sections. In addition tothe melodic line, the rhythmic-harmonic structure of the sections of the work is made up of syn-copated block chords, with discrete melodic outline (with emphasis, then, on repetitions); and bypulsating basses with accents on the weak beats (making reference to the rhythmic marking by thesurdo), a style characteristic of the percussion section, as well as other elements. A superficial lis-tening or a careless performance will certainly result in an impression of pure redundancy oforchestral procedures and textural patterns. On the other hand, careful work in interpretation willhighlight the expressive wealth of the elements involved. For example: as is frequently the casewith introductions that cite the theme itself, there is no significant contrast when the theme enters(measure 9). It is thus recommended to be attentive to the functional reduction of density andintensity of sound intentionally included in the orchestration, in order to effectively distinguishformal functions and their contents.

Marcos NogueiraProfessor of Harmony and Composition

Universidade Federal do Rio de Janeiro’s School of Music

VII Brazilian Music for Band Series — Palpite Infeliz

NOEL ROSA (1910 – 1937)

Noel de Medeiros Rosa was a Brazilian sambista, singer, composer, mandolinist, guitarist,and one of the greatest and most important musical artists in Brazil. He was born in a

difficult birth; the use of the forceps by the doctor caused a depression of the jaw that would markhim for his whole life. Raised in the Rio neighborhood of Vila Isabel, he learned to play man-dolin by ear, and came to love music. Noel was a member of various musical groups, among themthe Bando dos Tangarás, with João de Barro (known as Braguinha), Almirante, Alvinho andHenrique Brito. In 1929, Noel ventured his first compositions, Minha Viola e Toada do Céu, bothrecorded by Noel himself. But it was in 1930 that success arrived, with the issuing of Com queroupa?, a good-humored samba which has survived through the decades and today is a classic ofBrazilian song. Noel revealed himself to be a talented chronicler of the quotidian, with a series ofsongs notable for their humor and critical vein.

He was also the protagonist of a curious polemic, carried on through their songs, with his rival Wilson Batista.The two composers attacked each other in aggressive and good-humored sambas, producing good results forBrazilian music, including classics by Noel, such as Feitiço da Vila and Palpite Infeliz.

Among the noteworthy performers who sang his sambas were Mário Reis, Francisco Alves andAracy de Almeida, the latter considered the greatest interpreter of the composer.

Noel Rosa died at home, in the neighborhood of Vila Isabel, in 1937, at 26, as a consequenceof tuberculosis, a disease from which he suffered chronically.

HUDSON NOGUEIRA (1968)

Saxophonist, clarinetist, arranger and composer, Hudson Nogueira studied compositionwith Edmundo Villani-Côrtes. He was a musician of the Symphonic Band of the State of

São Paulo and member of the Banda Savana. In 2005 he made various appearances in Japan,where he performed his compositions at the Clarinet Fest, taking place in Asia for the first time.He wrote arrangements for Marvin Stamm, Leila Pinheiro, Beth Carvalho, Nana Caymmi, IvanLins, Jane Duboc, Guilherme Arantes, Toquinho, Gilberto Gil, Moraes Moreira, Sujeito aGuincho, Banda Savana, Banda Sinfônica Jovem of the Estado de São Paulo, Banda Sinfônica ofthe Estado of São Paulo, Orquestra de Sopros Brasileira, Orquestra Paulista and Banda Sinfônicaof CSN. He composed original works for Fernando Dissenha, Dale Underwood, Fred Mills,Paulo Sérgio Santos, James Gourlay, Madeira de Vento, Osland Saxophone Quartet, Universityof Minnesota, University of Georgia, University of Central Florida and the University of St.Thomas. His arrangements and compositions are present on more than 20 CDs recorded in Braziland abroad. His works have been performed throughout the world; some of them have been pub-lished by Wind-Gallery (Japan), Ruh Music (European branch of the American firm Barnhouse)and DDP Brazil Music (United States).

Brazilian Music for Band Series — Palpite Infeliz VIII

Quem é você que não sabe o quediz?

Meu Deus do Céu, que palpiteinfeliz!

Salve Estácio, Salgueiro eMangueira,

Oswaldo Cruz e Matriz,que sempre souberam muito bemque a Vila não quer abafar nin-

guém;só quer mostrar que faz samba

também.

Fazer poema lá na Vila é um brin-quedo

ao som do samba dança até oarvoredo

Eu já chamei você pra verVocê não viu porque não quis

Quem é você que não sabe o quediz?

A Vila é uma cidade independenteQue tira samba mas não quer tirar

patentePra que ligar a quem não sabe

Aonde tem o seu nariz?Quem é você que não sabe o que

diz?

!

Who are you? You don’t know whatyou’re saying!

What an unfortunate remark this was!

Hail to Estácio, Salgueiro, andMangueira,

Oswaldo Cruz, and Matriz,That have always known damn wellThat Vila doesn’t want to muffle

anyone;Vila only wants to show that can also

make good samba.

To write poetry is like playing, in Vila.

Even trees trees dance to the sound ofsamba!

I did invite you to see it, but you didn’twant to see…


Vila is in fact an independent cityThat makes her samba but doesn’t want

to monopolize itWhy should one pay attention to

someone who doesn’t know where to keephis nose?


!

PALPITE INFELIZmusic and lyrics by Noel Rosa

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Noel Rosaarranjo: Hudson Nogueira

Série Música Brasileira para Banda

Palpite InfelizSamba

Partitura CompletaDuração aproximada: 2'12"

Domínio Público, Funarte, Ministério da Cultura, 2008MBB0006 - Palpite Infeliz - Impresso no Brasil

www.funarte.gov.br / [email protected]

Domínio Público, Funarte, Ministério da Cultura, 2008MBB0006 - Palpite Infeliz - Impresso no Brasil

www.funarte.gov.br / [email protected]

Palpite Infeliz PARTITURA 6.0.qxd 5/7/08 6:47 AM Page 1

FUNARTE — Ministério da CulturaSérie Música Brasileira para Banda — Palpite Infeliz 2

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FUNARTE — Ministério da Cultura3 Série Música Brasileira para Banda — Palpite Infeliz

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*( (! ( (* (!/ (% * (! ' -(*

-(* ' (!+(* '

(!-(* ' (!

&

&( ( ( ( ( ( ( (-(* ' (!. .( . .( . . .( .-(* ' (!

3



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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

20 &20 &20 ' ()* + ' ()+20

()+ ' )!20 &20 &20

) )+ )! )+ )!20 ' ,)* + ' ,)+20 ,)+ ' )!20 &20 ) )+ )! )+ )!20 ' ()* + ' ()+20

()+ ' )!20 ) )+ )! )+ )!20 &20 &20

) )+ )! )+ )!20 ' ()* + ' ()+20

()+ ' )!20

,)+ ')!

20

()+ ' )!20 &20 &20 ) ) ) ) ) ) ) )()+ ' )!20 - - - - - - - -

()+ ' )!

&&

. )+ )! ' ()+

,)+ ' )!&&

+) )! ) )+ )%!. )+ )!

' ,)+,)+

' )!&

+) )! ) )+ )%!

. )+ )! ' ()+

,)+ ' )!+) )! ) )+ )%!

&&

+) )! ) )+ )%!. )+ )! ' ()+

()+ ' )!

,)+ ' )!

()+ ' )!

&

&) ) ) ) ) ) ) )()+ ' )!- -) - -) - - -) -()+ ' )!

. )+/)! ) )+

01 . )+2

)!

&,)+ ' )!

. )+/)! ) )+

0. )+/ )! ) )+0) ) )+ )!

&

,)+' )!

. )+/)! ) )+

0) ) )+ )!

&,)+ ' )!

) ,) '&

. )+/ )! ) )+0) ) )+ )!

&()+ ' )!

,)+ ' )!()+ ' )!

&

&) ) ) ) ) ) ) )()+ ' )!- -) - -) - - -) -()+ ' )!

. )* +0) ' ()+

+) )! ) )+ )!

&,)+ ' )!

. )% +0) ' ()+

. )% +0) ' ()+

+) )! ) )+ )!&

,)+' )!

. )% +0) ' ()+

+) )! ) )+ )!

&,)+ ' )!

&&

. )% +0) ' ()+

+) )! ) )+ )!&

()+ ' )!

,)+ ' )!()+ ' )!

&

&) ) ) ) ) ) ) )()+ ' )!- -) - -) - - -) -()+ ' )!

' ()$ + ' ()+

) )+ )! )+ )!

&

()+ ' )!' ()* + ' ()+

' ()* + ' ()+

) )+ )! )+ )!&

,)+ ' )!' ()* + ' ()+

) )+ )! )+ )!

&

()+ ' )!&&

' ()* + ' ()+

) )+ )! )+ )!&

()+ ' )!

,)+ ' )!

()+ ' )!

&

&) ) ) ) ) ) ) )()+ ' )!- - - - - - - -()+ ' )!

. )2) )!3

) )+0+) )!

3) )+0

1 . )+2)!

,)+ ' )!. )2

) )!3

) )+0

. )2) )!3

) )+0

+) )!3 ) )+01 . )+2 )!,)+ ' )!. )2

) )!3

) )+0

+) )!3) )+0

1 . )+2)!

,)+ ' )!' + !)!3 ) )+01 . )+2 )!. )2) )!3

) )+0

+) )!3 ) )+0&

,)+ ' )!

,)+' )!

,)+ ' )!

&

&) ) ) ) ) ) ) )()+ ' )!- - - - - - - -()+ ' )!

26

26

&. )+0 ) ' ,)++) )! ) )+ )!

,)+ ' )!

&&

. )+0 ) ' ()+

+) )! ) )+ )!,)+' )!

&. )+0

) ' ()+

+) )! ) )+ )!

,)+ ' )!

&+) )! ) )+ )!

&. )+0 ) ' ()+

&()+ ' )!

,)+ ' )!()+ ' )!

&

&) ) ) ) ) ) ) )()+ ' )!- -) - -) - - -) -()+ ' )!

4



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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

!""""""""

27 &27 ' ()* ' +)% *27 )* ), )! ) )* )!27 ()% * ' )!27 &27 &27 ' +)* ' +)% *27

)* ), )! ) )* )!27 ()% * ' )!27 &27 ' +)* ' ()% *27 )* ), )! ) )* )!27 ()% * ' )!27 &27 )* ), )! ) )* )!27 &27 ' +)* ' ()% *27 &27 ()% * ' )!27

()% *' )!

27 ()% * ' )!27 &27 &27 ) ) ) ) ) ) ) )+)* ' )!27 - - - - - - - -

+)* ' )!

. )*/

)! )* )!0

. )% */)! )* )!

0*) )! ) )* )!

0()* ' )!

. )*/)! )* )!

0. )*/

)! )* )!0

. )% */ )! )* )!0*) )! ) )* )!0()* ' )!. )*/

)! )* )!0

. )% */)! )* )!

0*) )! ) )* )!

0()* ' )!

. )*/

)! )* )!0

) )* )! )* )!0. )*/

)! )* )!0

. )% */ )! )* )!0'* #)!/

) )* )!0

()* ' )!()* ' )!+)* ' )!

&

&) ) ) ) ) ) ) )+)* ' )!- -) - -) - -) - -)+)* ' )!

) )) )%) )

' ),/ )! ) )*)!

) )) )) )%

) )' ),/ )! ) )* )!) )) )%) )' ),/ )! ) )*

)!

) )) )) )) )%) )

' ),/ )! ) )*)!

' ),/ )! ) )* )!' ),/

arco )! ) )*)!

&

&) ) ) ) ) ) ) )+)* ' )!- - - - - - - -+)* ' )!

. )1 *2)! )

. )*2)! )

&) ), )*

. )% *2)! )

. )% *2 )! )

. )*2 )! )&

) ), )*. )% *2

)! )

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) ), )*

. )*2 )! )&

. )% *2)! )

. )*2 )! )&

) ), )*

) ), )*) ), )*

&

&) ) ) ) ) ) ) )+)* ' )!- -) - -) - - - -+)* ' )!

' )$! +)*

' )! +)*

&*) )! ) )* )!

' )1! +)*

' )1! +)*

' )!()*

&

*) )! ) )* )!' )1! +)*

' )! +)*

&*) )! ) )* )!

' )!()*

&' )1! +)*' )! ()*

&*) )! ) )* )!

*) )! ) )* )!*) )! ) )* )!

&

&) ) ) ) ) ) ) )+)* ' )!- - -) - - - -) -+)* ' )!

' ),/)! ) )* )!

0&

' ),/)! ) )* )!

0) ) )* )!

0' ),

/)! ) )* )!

0' ),

/)! ) )* )!0&

' ),/ )! ) )* )!0) ) )* )!0' ),

/)! ) )* )!

0&

' ),/)! ) )* )!

0) ) )* )!

0&&

' ),/)! ) )* )!0&

' ),/)! ) )* )!

0) ) )* )!

0) ) )* )!0) ) )* )!

0&

' ),/)! ) )* )!

0) ) ) ) ) ) ) )+)* ' )!- - - - - - - -+)* ' )!

) )!0

3 )!0

) ),/)! ) )* )!

) )!0) )!

0) )!

03 )!0) ),/

)! ) )* )!) )!0) )!

03 )!

0) ),/)! ) )* )!

) )!03 )!0' ),

/)! ) )* )!

) )!0

3 )!0+) ' 3) )!

0) )!0) )!

03 )!0)4 )!40) ) ) ) ()!

break '+)* ' )!3Fill )!40

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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

34

34

&34 &34 ' '( '! '% ( ')!34 *'(+ , '!34 &34 &34 , -'(. , *'(34

' '( '! '% ( ')!34 *'(+

, '!34 &34 , -'(. , -'(34 ' '( '! '% ( ')!34 *'(+ , '!

, -'(. , -'(34 ' '( '! '% ( ')!34 &34 , -'(. , *'(34 &34 *'(+ , '!34

*'(+, '!

34 *'(+pizz. , '!

34 &34 &34 *'(+ , '!34 /ride/ / / / / / /'( / '

!/

&&

' '0 '! ' '( '!

*'( , '!&&

, *'( , *'(' '0 '! ' '( '!*'(, '!

&, -'( , -'(' '0 '! ' '( '!

*'( , '!, -'( , -'(

' '0 '!' '( '!

&, *'( , *'(

&-'( , '!*'( , '!-'( , '!

&

&*'( , '!/ / / / / / / /'( / '

!/

&&

' '(. , -'(

*'( , '!&&

1 '(2 '! '( '!' '(.

, *'(*'( , '!

&1 '(2

'! '( '!' '(. , -'(*'( , '!1 '(2

'! '( '!

-' , 3&

1 '(2 '! '( '!, -'(. , -'(

*'( , '!*'(, '!

*'( , '!&

&*'( , '!/ / / / / / / /'( / '

!/

, '02'! ' '( '!

&, -'( , -'(

*'( , '!, '0

2'! ' '( '!

, '02'!' '( '!

-' , 3, *'( , *'(*'(

, '!, '0

2'! ' '( '!

-' , 3, -'( , -'(

*'( , '!-' , 3

&, '02

'!' '( '!

-' , 3

, -'( , -'(

-'( , '!

*'( , '!-'( , '!

&

&*'( , '!/ / / / / / / /'( / '

!/

' '( '! '( '$!

&, -'( , -'(

*'( , '!' '( '! '( ')!

' '( '! '( ')!&

, *'( , *'(*'(

, '!' '( '! '( ')!

&, -'( , -'(

*'( , '!&&

' '( '! '( ')!&

, -'( , -'(

-'( , '!*'( , '!-'( , '!

&

&*'( , '!/ / / / / / / /'( / '

!/

' '( '! '( '!

1 '(2'! '$ ( '!

, -'( , -'(*'( , '!' '( '! '( '!

' '( '! '( '!

1 '(2'! ') ( '!

, *'( , *'(*'( , '!' '( '! '( '!

1 '(2

'! ') ( '!

, -'( , -'(*'( , '!

&&

' '( '! '( '!

1 '(2'! ') ( '!

, -'( , -'(*'( , '!

*'(, '!

*'( , '!

&

&*'( , '!/ / / / / / / /'( / '

!/

4

-' , 31 '(2

'! '( '!

*'( , '!4

4

' '(., *'(

1 '(2 '! '( '!*'(

, '!4

' '(. , -'(

1 '(2'! '( '!

*'( , '!, *'(. , -'(

1 '(2'! '( '!

4

' '(., *'(&

-'( , '!

*'( , '!-'( , '!

&

&*'( , '!/ / / / / / / /'( / '

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6



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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

41 & '()'! ' '* '!

41 +41

,'( & -41 .'* & '!41 & '(

)'! ' '* '!

41 & '()'!' '* '!

41 & .'* & .'*41 .'( & -41 .'* & '!41 & '(

)'! ' '* '!

41 & ,'* & ,'*41

,'( & -41 .'* & '!41 & ,'*/ & ,'*41 .'( & -41 & '()

'!' '* '!

41 & .'* & .'*41 +41 .'* & '!41

.'*& '!

41 .'* & '!41 +41 & '(

)'! ' '* '!

41 .'* & '!41 0 0 0 0 0 0 0 0'* 0 '

!0

afoxê

42

42

' *'! '( '*

++

.'* & '!' *'! '( '*

' *'!'( '*

& .'* 1 '* '!+

.'*& '!

' *'! '( '*

& ,'* 1 '* '!

+.'* & '!& ,'* 1 '* '!

+' *'!

'( '*

& .'* 1 '* '!+

,'* & '!.'* & '!,'* & '!

+' *'!2

'( '*

'3' ' ' ' ' ' ','* & '!

0 0 0 0 0 0 0 0'* 0 '!

0

'* '( '! ' '* '!

++

.'* & '!'* '( '! ' '* '!

'* '( '! ' '* '!

& .'* & .'*+

.'*&

'!'* '( '! ' '* '!

& ,'* & ,'*

+.'* & '!& ,'* & ,'*

+'* '( '! ' '* '!

& .'* & .'*+

,'* & '!

.'* & '!,'* & '!

+'* '( '! ' '* '!

' ' ' ' ' ' ' ','* & '!0 0 0 0 0 0 0 0'* 0 '

!0

' '* '! '4 * '!

+& ,'*/ & ,'*

.'* & '!' '* '! '% * '!

' '* '! '% * '!

+& .'*/

& .'*.'*

& '!' '* '! '% * '!

+& ,'*/ & ,'*

.'* & '!++

' '* '! '% * '!

+

& ,'*/ & ,'*

,'* & '!

.'* & '!,'* & '!

+' '* '! '4 * '!

' ' ' ' ' ' ' ','* & '!0 0 0 0 0 0 0 0'* 0 '

!0

' '( '! ' '* '!

1 *,'$!/'( '*

1 *,'! '( '*

.'% * & '!' '( '! ' '* '!

' '( '! ' '* '!

1 *.'4!/ '( '*1 *.'! '( '*.'% *

& '!' '( '! ' '* '!

1 *,'4!/'( '*

1 *,'! '( '*

.'% * & '!++

' '( '! ' '* '!

1 *.'4!/ '( '*1 *,'! '( '*

,'% * & '!

.'% * & '!,'% * & '!

+'2 '( '! ' '* '!

' ' ' ' ' ' ' ','* & '!0 0' 0 0 0' 0 0' 0'* 0 '

!0

*' '! ' '* '!

1 '* '! & ,'*

1 '% * '! & ,'*

.'* & '!*' '! ' '* '!

*' '! ' '* '!1 '* '! & .'*1 '% * '!

& .'*.'*& '!

*' '! ' '* '!

1 '* '! & ,'*

1 '% * '! & ,'*.'* & '!

++

*' '! ' '* '!1 '* '! & .'*1 '4 * '! & ,'*

,'* & '!

.'* & '!,'* & '!

+*'2 '! ' '* '!

' ' ' ' ' ' ' ','* & '!0 0' 0 0' 0 0 0 0'* 0 '

!0

*' '! ' '* '!

1 '* '! & ,'*1 '4 * '! & ,'*.'* & '!*' '! ' '* '!

*' '! ' '* '!1 '* '! & .'*1 '4 * '!

& .'*.'* & '!*' '! ' '* '!

1 '* '! & .'*1 '4 * '! & ,'*.'* & '!

++

*' '! ' '* '!1 '* '! & .'*1 '$ * '! & ,'*.'* & '!

.'*& '!

.'* & '!

+*'2 '! ' '* '!

' ' ' ' .' &,'* & '!0 0' 0 0' -Fill'* 0 -

7



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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

48 & &' &! &' &!(

48 ) &'*

&! &' &!(

48 ) &'* &! &' &!(48 ) &'* &! &' &!48 & &' &! &' &!

(48

& &' &! &' &!(48 ) &'*

&! &' &!(

48 ) &'* &! &' &!(48 ) &'* &! &' &!48 & &' &! &' &!

(48 ) &'*

&! &' &!(

48 ) &'* &! &' &!(48 ) &'* &! &' &!48 ) &'* &! &' &!(48 ) &'* &! &' &!(48

& &' &! &' &!(48 ) &'*

&! &' &!(

48 ) &'*

&! &' &!(

48 ) &'* &! &' &!48 ) &'* &! &' &!48 ) &'*

arco &! &' &!48 ) &'* &! &' &!48 +& , -48 ) &' &! &' &!48 & .&' .&! .&' .&

!crash

//

/

& &0 &! & &' &!

/

//

/& &0 &! & &' &!//

/& &0 &! & &' &!

/////

& &0 &! & &' &!

& &0 &! & &' &!& &0 &! & &' &!

/1

& ) & &!. .ride. . . . . .& ) & &!

50

50

) &'*

&! &' &!(

) &'*

&! &' &%!(

) &'*

&! &' &!(

/

) &'*

&! &' &!(

) &'*

&! &' &!(

) &'* &! &' &%!() &'* &! &' &!(/

) &'*

&! &' &!(

) &'*

&! &' &%!(

) &'*

&! &' &!(/

) &'*

&! &' &!(

) &'* &! &' &!() &'*

&! &' &!(

) &'* &! &' &%!() &'*

&! &' &!/

//

1

1

) &' &! &' &!& .&' .&! .&' .&

!crash

& && &%& && &0 &$! & &' &!

& && && &%

& && &0 &2! & &' &!& && &%& && &0 &2! & &' &!

& &$& && && &%& &$& &0 &$! & &' &!

& &0 &$! & &' &!& &0 &$! & &' &!

1

1

& ) & &!. .ride . . . . . .& ) & &!

) &'*

&! &' &!(

) &2 '*

&! &' &!(

) &'*

&! &' &!(

/

) &'*

&! &' &!(

) &'*

&! &' &!(

) &2 '* &! &' &!() &'* &! &' &!(/

) &'*

&! &' &!(

) &2 '*

&! &' &!(

) &'*

&! &' &!(

/

) &'*

&! &' &!(

) &'* &! &' &!() &'*

&! &' &!(

) &2 '* &! &' &!() &'*

&! &' &!/

//

1

1

) &' &! &' &!& .&' .&! .&' .&

!crash

& &*

&! & &' &!(

& '&3

&!

& '&3

&2 !

& '&3

&!

& &*

&! & &' &!(

& &*

&! & &' &!(

& '&3 &"& '&3 &2 "& '&

3&!

& &*

&! & &' &!(

& '&3

&!

& '&3

&2 !

& '&3

&!

& '&3 && '&

3&$

& &*

&! & &' &!(

& '&3 &"& '&3 &"& '&

3&!

& '&3 &!& '&

3&!

- '&* &!, &

*&! & &' &!

(& '& &!. .ride . . . . . .& '& &

!

4444444444

44444444444444444444

444 44444444444444444444

4444444444

44444444444444444444

4444444444

444 4444444444

4444444444

4444444444

444 4444444444

4444444444 44444444444444444444

444 44444444444444444444 4444444444

4444444444

4444444444 4444444444

4444444444

4444444444 44444444444444444444 4444444444

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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

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54 '54 ( )(!

*(+ ()

54 ( )(&!*

(+ ()54 ( (!*54 '54 '54 ( )(!

*(+ ()

54

( )(&!* (+ ()54

( (!*54 '54 ( )(!

*(+ ()

54 ( )(&!*

(+ ()54 ( (!*54

( )(!* (+ ()54 ( )($!

*(+ ()

54 '54 ( )(!

*(+ ()

54 ( )(!*(+ ()

54 ( (!*

54

( (!*54 ( (!

*54

( (!54 ',54 ( (!54 - -( - - -( - -( -( (!

')(! (! ()(&! (! (

( ( () (!'

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( ( () (!')(! (! ()(&! (! (

( ( () (!)(! (! ()($! (! (')(! (! (

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( ( () (!( ( () (!

( ( () (!',

( ( () (!-( - - -( - - - -( ( () (

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'( )(! (+ ()

( )(&! (+ ()

( ('

'

( )(! (+ ()

( )(&! (+ ()

( ('( )(! (+ ()( )(&! (+ ()

( (

( )(! (+ ()( )($! (+ ()'( )(! (+ ()

( )(! (+ ()( (

( (( (

( (',

( (- -( - - .( .Fill

/(#$ 0 ./(#$ 0 .(#$

(+*(! ( () (!

1(%$0 .

/(#$ 0 ./(#$ 0 .

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/(#$ 0 ./(#$ 0 .(#$

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58

58

23 ()4 (! 0

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22

3 ()4 (! 01()

)( (! ( () (!

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)( (! ( () (!

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)( (! ( () (!

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2

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22

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22

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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

61 & '()'! ' '* '!

61 +61 +61

'* , ' '!61 & '(

)'! ' '* '!

61

& '()'! ' '* '!

61 ' '*- & .'*61 +61

'* , ' '!61 & '(

)'! ' '* '!

61 ' '*- & /'*

61 +61

'* , ' '!61 ' '*

- & .'*61 +61

& '()'! ' '* '!

61 ' '*- & .'*61 +61

'* , ' '!61

'* , ' '!61

'* , ' '!61 +61 +61 ' ' ' ' ' ' ' ''* , '

!'

61 0 0 0 0 0 0 0 0'*, ' '!

*' '! ' '* '$!

+, '*-

'! & /'% *

'1 * , ' '!

*' '! ' '* '1!

*' '! ' '* '$!+

, '*- '! & .'% *'% * , ' '!*' '! ' '* '1!

+, '*-

'! & /'% *

'% * , ' '!

++

*' '! ' '* '$!+

, '*-'! & /'1 *

'1 * , ' '!

'1 * , ' '!'1 * , ' '!

+

+' ' ' ' ' ' ' ''* , '

!'

0 0 0 0 0 0 0 0'*, ' '!

*' '! ' '* '1!2

+, '% * '! & /'*

'* , ' '!

*' '! ' '* '%!2

*' '! ' '* '1!2+

, '% * '!& .'*

'* , ' '!*' '! ' '* '%!

2+

, '% * '! & /'*

'* , ' '!

++

*' '! ' '* '1!2+

, '1 * '! & /'*

'* , ' '!

'* , ' '!'* , ' '!

+

+' ' ' ' ' ' ' ''* , '

!'

0 0 0 0 0 0 0 0'*, ' '!

3

+, '*)

'! '* '!

'* , ' '!3

3+

, '*) '! '* '!'* , ' '!3

+, '*)

'! '* '!

'* , ' '!++

3+

, '*)

'! '* '!

'* , ' '!

'* , ' '!'* , ' '!

+

+' ' ' ' ' ' ' ''* , '

!'

0 0 0 0 4Fill'*, ' 4

/' *'!2

& *'!2

/'* *'!2

'* , '!)

' '* '!

/' *'!2

/' *'!2

& *'!2.'* *'!2'* , '!) ' '* '!/' *'!

2& *'!

2/'* *'!

2'* , '!

)' '* '!

& *'!2

& *'!2

/' *'!2

& *'!2/'* *'!

2'* , '!

)' '* '!

'* , '!)

' '* '!

'* , '!)

arco ' '* '!

& *'!)+

.'*break & 4& *'!/' **0'

!crash

)

66

66

, '% *5'! & /'*

, '*5

'! & /'*+

*' '! ' '* '!, '% *5

'! & /'*

, '% *5 '! &.'*

, '*5 '!& .'*+

*' '! ' '* '!, '% *5

'! & /'*

, '*5 '! &.'*

+*' '! ' '* '!

++

, '% *5 '! &.'*

, '*5 '!& .'*+

*' '! ' '* '!*' '! ' '* '!*' '! ' '* '!

+

, ''%% *5

''! & /''*

, '*5 '! &.'*

, 0'*5

0'! & /0'*

, '% * '! & /'*

, '* '! & /'*+

*' '! ' '* '!, '% * '! & /'*

, '% * '! &.'*

, '* '!& .'*+

*' '! ' '* '!, '% * '! & /'*

, '* '! &.'*

+*' '! ' '* '!

++

, '% * '! &.'*

, '* '!& .'*+

*' '! ' '* '!*' '! ' '* '!*' '! ' '* '!

+

, ''%% * ''! & /''*

, '* '! &.'*

, 0'* 0'! & /0'*

10



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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

68 &68 ' ()* + ' ()+68 ' ()+, ' ()+68

) )+ )! )+ )!68 &68 &68 ' -)* + ' -)+68 ' -)+,

' -)+68

) )+ )! )+ )!68 &68 ' ()* + ' ()+68 ' ()+, ' ()+68

) )+ )! )+ )!68 &68 ' -)+, ' -)+68 &68 ' -)* + ' -)+68 &68

) )+ )! )+ )!68

) )+ )! )+ )!68 ) )+ )! )+ )!68 &68 ' (

))** + ' ())+

68 ' -)+ ' -)+68 ' (

.)+ ' (.)+

&/ )+ )! ' ()+

/ )+ )! ' ()+

+) )! ) )+ )*!&&

/ )+ )! ' -)+/ )+ )!

' -)++) )! ) )+ )%!

&/ )+ )! ' ()+

/ )+ )! ' ()++) )! ) )+ )%!

&/ )+ )! ' -)+

&/ )+ )! ' -)+

&+) )! ) )+ )*!+) )! ) )+ )*!+) )! ) )+ )*!

&

/ ))+ ))! ' ())+

/ )+ )! ' -)+/ .)+ .)! ' (

.)+

/ )+0

)!1

) )* +

/ )+0

)!1

) )+/ )+0

)!1

) )+

) ) )+ )!/ )+0

)!1

) )% +/ )+0 )!1

) )% +/ )+0 )!1 ) )+/ )+0 )!1 ) )+

) ) )+ )!/ )+0

)!1

) )% +/ )+0 )!1 ) )+/ )+0

)!1

) )+

) ) )+ )!/ )* +0

)!1

) )+/ )+0 )!1 ) )+/ )+0 )!1

) )% +/ )+0 )!1 ) )+/ )* +0

)!1

) )+) ) )+ )!) ) )+ )!) ) )+ )!

&

&

/ )+ )! ) )+/ .)+ .)

!crash.) .)+

&/ )* +,

) ' ()+

/ )+,

)! ' ()+

+) )! ) )+ )!&&

/ )% +, ) ' -)+/ )+, )!

' -)++) )! ) )+ )!

&

/ )% +,

) ' ()+

/ )+,

)! ' ()+

+) )! ) )+ )!&

/ )+, )! ' -)+&

/ )% +, ) ' -)+&

+) )! ) )+ )!+) )! ) )+ )!+) )! ) )+ )!

&

/ ))** +,)) ' -))+

/ )+ )! ' -)+/ .)+ .)! ' (

.)+

&' ()$ + ' ()+

' ()+ ' ()+

) )+ )! )+ )!&&

' -)* + ' -)+' -)+ ' -)+) )+ )! )+ )!

&' ()* + ' ()+

' ()+ ' ()+

) )+ )! )+ )!&

' -)+ ' -)+&

' -)* + ' -)+&

) )+ )! )+ )!) )+ )! )+ )!) )+ )! )+ )!

&

' -))$$ + ' -))+' -)+ ' -)+' (

.)+ ' (.)+

2 / )+0

)!

/ )0

) )!1

) )+3

'+ !)!1) )+

3+) )!1 ) )+32 / )+

0)!

2 / )+0 )!/ )0 ) )!1

) )+3

'+ ")!1 ) )+3+) )!1 ) )+32 / )+

0)!

/ )0

) )!1

) )+3

'+ !)!1) )+

3+) )!1 ) )+3'+ ")!1 ) )+3'+ !)

!1

) )+3

2 / )+0 )!/ )0 ) )!1

) )+3

'+ ")!1) )+3

+) )!1

) )+3+) )!1 ) )+3+) )!

1) )+

3pizz.

&

&

' + ")! ) )+' + !

.)!crash.) .)+

11



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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

74

74

&' '! ' '& '!74 (74 ) '&*

'! + ,'&-74

'&* ) ' '!74 &' '! ' '& '!74

&' '! ' '& '!74 (74 ) '&* '! + .'&-74

'&* ) ' '!74 &' '! ' '& '!74 (74 ) '&*

'! + ,'&-74

'&* ) ' '!

(74 ) '&* '! +

.'&-74

&' '! ' '& '!74 (74 (74

'&* ) ' '!74

'&*) ' '!

74

'&* ) ' '!74 (74 (74 '& ) ' '!74 /ride/ / / / / / /'&

) ' '!

'& '0 '! ' '& '!

() '% & '! + ,'&

'& ) ' '!'& '0 '! ' '& '!

'& '0 '! ' '& '!

() '% & '! +

.'&'& ) ' '!'& '0 '! ' '& '!

() '% & '! + ,'&

'& ) ' '!(

) '% & '! + ,'&'& '0 '! ' '& '!

(

('& ) ' '!'& ) ' '!'& ) ' '!

(

(

'& ) ' '!/ / / / / / / /'&

) ' '!

1

() '2 &3

'! '& '!

'& ) ' '!

1

1(

) '2 &3 '! '& '!'& ) ' '!1

() '2 &3

'! '& '!

'& ) ' '!

(

) '2 &3'! '& '!

1(

('& ) ' '!

'& ) ' '!'& ) ' '!

(

(

'& ) ' '!/ / / / / / / /'&

) ' '!

((

' '&- + ,'&

'& ) ' '!((

+ '03 '! ' '&'!

' '&-+ .'&

'& ) ' '!(

+ '03'! ' '& '!

' '&- + ,'&

'& ) ' '!+ '0

3'! ' '& '!

' '&-

+ .'&(

+ '03 '! ' '&'!

('& ) ' '!

'& ) ' '!'& ) ' '!

(

(

'& ) ' '!/ / / / / / / /'&

) ' '!

((

) &,'%! '0 '&

'& ) ' '!((

&' '! ' '& '!

) &.'%! '0 '&'& ) ' '!

(&' '! ' '& '!

) &,'%! '0 '&

'& ) ' '!&' '! ' '& '!

((

&' '! ' '& '!

) &,'2!-'0 '&

'& ) ' '!'& ) ' '!'& ) ' '!

(

(

'& ) ' '!/ / / / / / / /'&

) ' '!

((

,'2 & '! ,'&

'& ) ' '!((

&' '! ' '& '!

.'2 & '! .'&

'& ) ' '!(

&' '! ' '& '!

,'2 & '! ,'&

'& ) ' '!&' '! ' '& '!

((

&' '! ' '& '!

,'$ & '! ,'&

'& ) ' '!

'& ) ' '!'& ) ' '!

(

(

'& ) ' '!/ / / / / / / /'&

) ' '!

(+ ,'&- + ,'&

) '&3'! '& '!

'& ) ' '!

((

' '&-+ .'&

) '&3 '! '& '!

'& ) ' '!(

' '&- + ,'&

) '&3'! '& '!

'& ) ' '!

,' + 4) '&3

'! '& '!

(' '&-

+ .'&(

'& ) ' '!

'& ) ' '!'& ) ' '!

(

(

'& ) ' '!!Fill

3

12



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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

81 & '()'! ' '* '!

81

+'!, & -81 +'! & -81 .'")

& -81 & '(

)'! ' '* '!

81 & '()'! ' '* '!

81 .'",& -

81 .'" & -81 .'")

& -81 & '(

)'! ' '* '!

81

+'!,& -

81 +'! & -81 .'")

& -81

+'!) & -81

+'! & -81 & '(

)'! ' '* '!

81 .'",& -

81

+'!) & -81 .'")

& -81

.'")& -

81 .'")& -

81 .'")& -

81 & '()bells '! ' '

* '!81 .'"

break

)& -

81

+''!

break & -

tambourim

82

82

' '* '! '/ * '$!

& +'*0 & .'*1

'*,2 ' '!

' '* '! '% * '/!

' '* '! '% * '/!& .'*0 & +'*

1

'*,2 ' '!

' '* '! '% * '/!

& +'*0 & +'*

1

'*,2 ' '!

11

' '* '! '% * '/!& .'*0 & +'*

1'*,

2 ' '!

'*, 2 ' '!'*,

2 ' '!

1

' '* '! '/ * '$!2 ',

' ' ''* 2 ' '!3,3 3 3 3 3 3 3'*2 ' '!

' '( '! ' '* '!

& +'* & .'*1

'* 2 ' '!' '( '! ' '* '!

' '( '!' '* '!

& +'* & +'*

1

'* 2 ' '!' '( '! ' '* '!

& +'* & +'*

1'* 2 ' '!

11

' '( '!' '* '!

& +'* & +'*

1'* 2 ' '!

'* 2 ' '!'* 2 ' '!

1

' '( '!' '* '!

' ' ' 2 ' ''* 2 ' '!3 3 3 3 3 3 3 3'*

2 ' '!

' '*0 & +'*

11

'* 2 ' '!' '*0 & +'*' '*0

& .'*2 '*) '! '* '!

1

'* 2 ' '!' '*0 & +'*2 '*)

'! '* '!

1

'* 2 ' '!2 '*)

'! '* '!

1' '*0

& .'*2 '*) '! '* '!

1'* 2 ' '!

'* 2 ' '!'* 2 ' '!

1

+' & -2 ' ' ' ''* 2 ' '!3 3 3 3 3 3 3 3'*

2 ' '!

& +'* & +'*

1& '(

)'! ' '* '!

'* 2 ' '!& +'* & +'*

& .'* & .'*.'* & -& '(

)'! ' '* '!

'* 2 ' '!& +'* & +'*

+'* & -& '(

)'! ' '* '!

'* 2 ' '!.'* & -

1& .'* & .'*.'* & -

& '()'! ' '* '!

'* 2 ' '!

'* 2 ' '!'* 2 ' '!

1

1' ' ' 2 ' ''* 2 ' '!3 3 3 3 3 3 3 3'*

2 ' '!

& +'* & +'*

1' '* '! '* '$!

'* 2 ' '!& +'* & +'*& .'* & .'*

1' '* '! '* '$!

'* 2 ' '!& +'* & +'*

1' '* '! '* '$!

'* 2 ' '!11

& .'* & .'*1

' '* '! '* '$!

'* 2 ' '!'* 2 ' '!'* 2 ' '!

1

12 ' ' ' ''* 2 ' '!3 3 3 3 3 3 3 3'*

2 ' '!

& +'* & +'*

1' '* '! '* '!

'* 2 ' '!& +'* & +'*& .'* & .'*

1' '* '! '* '!

'* 2 ' '!& +'* & +'*

1' '* '! '* '!

'* 2 ' '!11

& .'* & .'*1

' '* '! '* '!

'* 2 ' '!'* 2 ' '!'* 2 ' '!

1

1' ' ' 2 ' ''* 2 ' '!3 3 3 3 3 3 3 3'*

2 ' '!

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Fl.(A)

Ob.(B)

Cl. B$(C * qto)

Fagote(D)

Cl. E$(A) Req.

1 (A)

2 (B)

3 (C)

Cl.B.(D)

Sxa. E$ 1(A)

Sxa. E$ 2(B)

Sxt. B$(C)

Sax.bar. E$(D)

1 (B**)

2 (C***)

1 (A)

2 (B)

Tbn.(C)

Bdn.(D)

Tb.(D)

Cb.(D)

Timp.

Tec.xilo., bells


ganz., tamb.

Bat.

Tpts. B$

Cls. B$

Tpas. F

88 & '()

'! '( '!*

88 +88 ,88

'( & ' '!88 & '(

)'! '( '!

*88 & '(

)'! '( '!

*88 +88 ,88

'( & ' '!88 & '(

)'! '( '!

*88 +88 ,88

'( & ' '!88 +88 +88 & '(

)'! '( '!

*88 +88 ,88

'( & ' '!88

'( & ' '!88

'( & ' '!88 +88 +88 & ' ' ' ''( & ' '!88 - - - - - - - -'(

& ' '!

,

+. '/

)'! ' '( '!

'( & ' '!,

,+

. '/)

'! ' '( '!

'( & ' '!,

+. '/

)'! ' '( '!

'( & ' '!++

,+

. '/)

'! ' '( '!

'( & ' '!

'( & ' '!'( & ' '!

+

+' ' ' & ' ''( & ' '!- - - - 0Fill

)'(& ' 0

90

90

1'(2 .( & !'! .1'(2 .( & !'! .' ('! '/ '(

3'(2 .( & "'! .

1'(2 .( & !'! .1'(2 .( & !'! .3'(2 .( & "'! .' ('! '/ '(

3'(2.( & "'!

.

1'(2 .( & !'! .1'(2 .( & !'! .' ('! '/ '(

3'(2 .( & "'! .

1'(2 . & !'! .3'(2 . & "'! .

1'(2 .( & !'! .3'(2 .( & "'! .' ('! '/ '(

3'(2 .( & "'! .3'(2 .( & "'! .

1'(2arco .( & !'! .3'(2 .( & "'! .

1''(2xilo.

.( & !''! .

3'(break

2. & "'! .

1'( . & !'! .

1-'(2

break . & !-'! .

'( '/)

'! ' '( '!

1'( . '!*

1'( . '!*

3'( . '!*'( '/

)'! ' '( '!

'( '/)

'! ' '( '!3'( . '!

*1'( . '!*3'( . '!*'( '/

)'! ' '( '!

1'( . '!*

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FUNARTE’S EDITIONS OF MUSIC SCORES FOR BANDSEDIÇÕES FUNARTE DE PARTITURAS PARA BANDAS

1995Golden Repertoire of Brazilian Bands Antônio do Espírito SantoAvante Camaradas / Dobrado 220

Gilberto Gagliardi Cidade de Diadema (dobrado)

Joaquim Naegele Mão de Luva (dobrado)

Silvestre Pereira de Oliveira Amor de um Pai (dobrado)

Antônio Pedro Dantas (Tonheca Dantas) A Desfolhar Saudades (valsa)

2000Golden Repertoire of Brazilian Bands Antonio do Espírito Santo Avante Camaradas Dobrado 220 (dobrado) * reissue

Ceciliano de Carvalho Dever do Mestre (dobrado)

Gilberto Gagliardi Cidade de Diadema (dobrado) * reissue

João Firmino de Moura Saudades de onde Nasci (valsa)

João Trajano da Silva Janaina (ciranda)

Joaquim Naegele Mão de Luva (dobrado) * reissue

José Aniceto de Almeida Cecília Cavalcanti (valsa)

José Barbosa de Brito Bento Barbosa de Brito (dobrado)

Levino Ferreira da Silva Lágrimas de Folião (frevo)

Luiz Fernando da Costa Archanjo Soares do Nascimento (dobrado)

Manoel Ferreira Lima Diana no Frevo (frevo)

Manoel Rodrigues da Silva Dengoso (choro)

Severino Ramos Tubas de Papelão (dobrado)

Silvestre Pereira de Oliveira Amor de um Pai (dobrado) * reissue

2004 e 2008Hymns of BrazilFrancisco Braga/Olavo Bilac Hino à Bandeira Nacional

Francisco Manuel da Silva/Joaquim Osório Duque Estrada Hino Nacional do Brasil

2008Golden Repertoire of Brazilian BandsAnacleto de Medeiros Jubileu (dobrado)

Francisco Braga Barão do Rio Branco (dobrado)

Joaquim Naegele Professor Celso Woltzenlogel (dobrado)

Joaquim Naegele Estrela de Friburgo (polka for solo trumpet and band)

Joaquim Naegele Ouro Negro (dobrado)

Anacleto de Medeiros Os Boêmios (Brazilian tango)

José Genuíno da RochaTesta de Aço (frevo)

Pedro Salgado Dois Corações (dobrado)

Hymns of BrazilD. Pedro I/ Evaristo da Veiga Hino da Independência

Leopoldo Miguez / Medeiros e Albuquerque Hino da Proclamação da República

Brazilian Music for BandsEdu Lobo/Capinam Ponteio (baião; arrangement by Hudson Nogueira)

Guinga / Aldir Blanc Baião de Lacan (choro; arrangement by Hudson Nogueira)

Hermeto Paschoal Bebê (baião; arrangement by Hudson Nogueira)

Noel Rosa Palpite Infeliz (samba; arrangement by: Hudson Nogueira)

Hudson Nogueira Quatro Danças Brasileiras (samba, maxixe, marcha-rancho, choro)

Ivan Lins / Vitor Martins Novo Tempo (arrangement by Hudson Nogueira)

Carlos Alberto Braga (Braguinha) / Alberto Ribeiro Copacabana (samba; arrangement by José Carlos Ligiéro)

José Ursicino da Silva (Mestre Duda) Suíte Nordestina (baião, serenata, maracatu, frevo)

José Ursicino da Silva (Mestre Duda) Suíte Pernambucana de Bolso (caboclinhos, serenata, côco, frevo)

Nelson Cavaquinho/Guilherme de Brito Folhas secas (samba; arrangement by Hudson Nogueira)

PRESIDENTE DA REPÚBLICA

Luiz Inácio Lula da Silva

MINISTRO DA CULTURA

Juca Ferreira

FUNDAÇÃO NACIONAL DE ARTES / FUNARTE

PRESIDENTE

Sérgio Mamberti

DIRETORA EXECUTIVA

Myriam Lewin

DIRETOR DO CENTRO DA MÚSICA

Pedro Müller

COORDENAÇÃO DO PROJETO BANDAS

Rosana G. Lemos

COORDENAÇÃO DE COMUNICAÇÃO

Oswaldo Carvalho

COORDENAÇÃO DE EDIÇÕES

Maristela Rangel

© FUNARTE, 2008IMPRESSO NO BRASIL / PRINTED IN BRAZILEDIÇÕES FUNARTE

Verso da Capa.qxd:Funarte Hino Nacional 12.12.08 17:00 Page 2

Patrocínio Realização

palpi te infeliz - funarte te infeliz music by n oe l ro sa arrangement by ... nana caymmi, ivan...

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