jC _ TRES CANTOS NATIVOS DOS INDIOS KRAO arranged for SATB by Marcos Leite ( Brazil) Si oe “Sy we BRAZIL earthsongs 220 nw 29th street corvallis, or 97330 1-541/758-5760 (phone) 1-541/754-5887 (fax)pa TRES CANTOS NATIVOS dos Indios Kraé ) Ambientado por Marcos Leite - PRIMEIRO CANTO ( s Sopranos © contraltos ficam 4 vontade nesses vito compassos, para “aujar” 0 feito musical masculino ‘com gritos, sons. percussives, et. A © j pereussio ataca junto com 0 coro, Sujere-se a tumbadora e 2 chocalhos =——— fF T —— B RAMon. RAM. © tm these eight measures, sopranos and altos should improvise animal cries, percussive sounds, ete Timitating the atmosphere ofthe rain forest jungle with sounds of the rain, river, wind, and forest animals] to contrast with the musical effect ereated by the male voices. © me percussion instruments start with the choir. The use of congals) and two rattles is suggested. 9 £ ~ © Deckecke = ke hesriera = re be De-be-be = be Sf. — Sf RAM ee RA RAM 13 4 Jas ramustum kocsis ra - re Jara mu-tum Jaeea-ma tum keriere - re dara mu- tam kosrieta = re he RAM RAM RAM RAM © 1996 by earthsongsSEGUNDO CANTO Sad tiditum Beh parcea re andi alse Wis erne-r® kacporsra dibesioré t Pletchd paren re a die ie ré fucesnesr® ka-por-ra dii-si-re percusséo ataca w percussion begins) |* Pas teh iusene- re jd inn Pas thb ines. we b= aie 29 f Phe tehd parrare © Pi tehd parrere @- di abr PO- ths fecne = rh ide ane re djo-shre Patho vesne- 28 ibeabre ~ PA tcho iwenes 28 did sirh Pao teh iu-e-ne- we djSeniré PE tchd iuene- re abatepg ©patmas. «(até o fim da repeticao) a sivoon od od ad od G Piste parsore 8 = 0 iwene ri ke por-ra did sit Pactehd panrere 9 = jdesbat Patch parsare © - ddesbné Pa tehd iuverne - rh diteahré PS- teh io-ene- sé djb-siv PA tchd iuwe-ne~ re dib-shré Paotchd iv-e-ne- re dit-abre | Pav tehd dvene- re djt-sird Pas tchb fuve-me- re dibeiit tapping unl the ond of the repeat) i a iti AG fi A 7 Po-tchd parrere 2 did-sir® juene- rékepor-ra did PA-tehd parra-te Pa-tchd panrore S- dji-siré iene ré kepor-r did at at so Pao teh tun aone iurerne- re dio sh8 Poothd iusesne- diiseré | POs ths fuveome FE dioeebee Pa tch® in-e-ne- 8 dvshet OMutheres procurande o mesmo efeito do inicio da pega, com palmas, gritos, sons percussivas, eantos, etc a] OPercussio em evidéncia (repetir varias vezes) Pek iv ene a. ® Women recreating the same atmospheric effect of the beginning of the piece ‘vith claps, animal erie, percussive sounds, chants, etc © The percussion instruments should project more soloistically in this section (repeat several times) <4fn TERCEIRO CANTO 0 WRN co) Kamar _- 1 - ra khde= ti ke- ma kide-ri ke ma kidé-ri kee ma Kamar mf re = ma kide- ri ke - ma kide Ka- mr ma kidé- ri Ka- mar - Sem pereussao ma kide Hi ma T-6- ie Ve Ua - i+ te ues i te, wars te, udsri-te, Ti-6- Com pereussio mi ui-ri-te - te A> him As ham A> him A- him Kamar ham. an ot mo wd-ti-te - te, mo ui-ri-te - te A - him A- ham A- him A- him ham, st! _ (em maa a lst) P Goose efeto & patside “para dete” Oris eter is produced by sucking hopando ar entre Genter the air in through the cased teethPRONUNCIATION GUIDE PRIMEIRO CANTO RAM _Dekekeke Korirare he hahm = da-ka-ka-k8-koh-ree-rah-ri hd tham — de-ke-ke-ke —ko-ri-ra-re hel Jaramutum korirare rhah-rah-moo-toom koh-ree-rah-ri (ga-ra-mu-tum ko-ri-ra-re] SEGUNDO CANTO ieneré jo siré yoo-th-neh-r j0 zee ju-f-nf-re — dgo_2i-re] Patchd —parrare ——adjosiré Pah-cho —pah-ha-riah-j8-zee-r8 [pa-Yo—parharre—a~dgo-zi-re] Tueneré kaporra dj siré yoo-eh-neh-rkah-pO-ha jo zee=ra Uu-t-nf-re—kavporha. go. zi-rel TERCEIRO CANTO Kamerréra kidéri kema w kah-mah-ni-rah_ Kee-deh-ree—keh-mah Uka-ma-he-ra kind KE-ma) uaritete wah-ree-teh-teh warrintei€ Trés Cantos Nativos dos Indios Kraé Composed in 1982, Trés Cantos Nativos dos Indios Kraé is freely based on melodies sung by the Kraé tribe ~ a group of native Brazilian indians who live in the Xingu river area of the Amaz6nia forest of northwestern Brazil. The work is divided into three short sections or cantos. The use of percussion instruments is strongly recommended by the composer; the instruments should emphasize and improvise on the rhythms of the chorus. The mean-ing of the text is not known; it was treated by the composer as a group of phonemes. Marcos Leite (b.1953) is well-known in Brazil as a conductor, composer, pianist, and musical director of many theater productions. He has performed with some of the most important popular artists and arranged popular tunes for vocal groups for the last 15 years. His arrangements typically bring the essence of Brasilian urban popular music to the vocal music universe. Currently Leite is the arranger and director of the vocal quartet Garganta Profunda and a member of the Conservatério de Miisica Popular Brasileira de Curitiba where he teaches and directs a choir. Daniel Rufino Afonso, Jr, Editor