2 Baiao de Lacan Full Score PDF

BRAZILIAN MUSIC FOR BAND SERIES
BAIÃO DE LACAN
music by
Carlos Althier Escobar
(Guinga)
lyrics by
Aldir Blanc
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, 2008
IMPRESSO NO BRASIL / PRINTED IN BRAZIL
FUNARTE EDITIONS
Baião de Lacan
(Lacanian Baião)
music by
Carlos Althier Escobar
(Guinga)
lyrics by
Aldir Blanc
arrangement by
Hudson Nogueira
SCORES FOR BAND – PUBLISHING PROJECT
G ENERAL DIRECTION
FLAVIO SILVA / MARIA JOSÉ DE QUEIROZ FERREIRA
T ECHNICAL DIRECTION , ADAPTATION, REVISION AND STANDARDIZATION

Marcelo Jardim
MUSIC PUBLISHING
Si Thoca Edições Musicais
www.sithoca.com
Simone dos Santos
P ROGRAM NOTES
Marcos Vinício Nogueira
CONSULTING – TABLE INDICATING T ECHNICAL LEVEL

Dario Sotelo
CONSULTING – FLEXIBLE INSTRUMENTATION /ARRANGEMENTS

Hudson Nogueira
E LECTRONIC EDITING – SCORE AND INSTRUMENTAL P ARTS

Alexandre Castro – Sheila Mara –
Leandro J. Campos – Bruno Alencar
E NGLISH TEXTS
Tom Moore
T EXT E DITING AND REVISION

Maurette Brandt
G RAPHIC P RODUCTION
João Carlos Guimarães
E DITORIAL PRODUCTION
Renata Arouca
COVER AND ILLUSTRATION

Rafael Torres
Fundação Nacional de Artes – Funarte

Music Center (Cemus)
Rua da Imprensa 16, 13th Floor
Rio de Janeiro, RJ − Brasil
CEP 20.030-120
Tel.: (21) 2279-8106 - Fax: (21) 2279-8088
coordenacaobandas@funarte.gov.br
www.funarte.gov.br
BAND REPERTOIRE OF YESTERDAY, TODAY, AND OF ALL TIMES
T he opportunity of resuming the process of publishing scores for band is a good reason for
rejoicing 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”, with
two titles. Presently 20 new titles are being published, ten of which in a new series called “Brazilian
Music for Band”, which includes high level arrangements of popular songs and some of the most
praised classics of Brazilian popular music. The new series also highlights original works written
specifically for bands by composers of various periods, and opens space for transcriptions from the
Brazilian symphonic repertoire.
These editions follow the international norms for publishing and the standardization of music
pieces for symphonic band, diversifying the supply of instrumental parts without losing sight of
the most noteworthy characteristics of our bands, as well as making possible for small groups and
bands, with reduced forces, to perform music using the same material. The process of publishing
scores for band is a search of more dynamic ways to supply a market which is always eager for
novelties 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.
III Brazilian Music for Band Series — Baião de Lacan

ABOUT THE NEW EDITIONS
W ith these new series of editions, Funarte intends to expand the contemporary literature for bands in
Brazil, 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 to
make adaptations to the original material - without, however, altering its melodic, harmonic, and
rhythmic lines. Original orchestrations were maintained, with the addition of new information in
the 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 (3
parts), Bb bass clarinet, quartet of saxophones (2 Eb altos, 1 or 2 Bb tenors, and Eb baritone), F
horns (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 and
timpani, when they were not part of the original instrumentation. Nevertheless, the director
should 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, 3
trombones, 1 baritone, 1 tuba, and percussion (snare, cymbal and bass drum). Extra parts (not
included in the instrumentation) will be printed for Eb saxhorns, Bb baritone in bass clef, as well
as Bb and Eb tubas, in all the editions.
T he repertoire of this series emphasizes arrangements of MPB and original compositions.

Optional instruments, originally intended by the composer or arranger, are included in
the score’s instrumentation, but are not essential to the performance of the piece. It was sought to
retain such instruments as options, thus allowing the performance of a particular musical passage
in more than one way, so as to make possible its performance by symphonic and concert bands –
and also to enhance its performance by traditional bands. To this end, indications of other ins-
truments allow the conductor to have a mass of sound for performances in the open air, while
maintaining an equilibrium of sound in concerts taking place in closed spaces.
Maestro Marcelo Jardim

Technical Coordinator
Brazilian Music for Band Series — Baião de Lacan IV

BAIÃO DE LACAN
music by Guinga
lyrics by Aldir Blanc
arrangement by Hudson Nogueira
Instrumentation
*piccolo F French horn 1
flute F French horn 2
*oboe F French horn 3
*bassoon Bb trumpet 1
*Bb clarinet Bb trumpet 2
Bb clarinet 1 Bb trumpet 3
Bb clarinet 2 trombone 1
Bb clarinet 3 trombone 2
*Bb bass clarinet trombone 3
Eb sax alto 1 euphonium
Eb sax alto 2 bass c
Bb sax tenor 1 timpani
Bb sax tenor 2 bells, xylophone
Eb sax baritone snare drum
cymbals, bass drum, ganzá
Extra Parts
Eb sax horn 1 Bb barítono
Eb sax horn 2 Bb tuba
Eb sax horn 3 Eb tuba
Note to the Director

All the parts marked with * are optional; they are not, therefore, essential to the performance
of the work. Such parts were added in accordance with the composer’s writing and the func-
tion of these instruments in the band, in order to allow the formatting of the score according
to present-day international standards.
V Brazilian Music for Band Series — Baião de Lacan

BAIÃO DE LACAN
music by Guinga
lyrics by Aldir Blanc
arrangement by Hudson Nogueira
T his is a song in the style of the baião, which here receives a notably refined instrumental
treatment. We can understand that the piece was composed as a veritable study for wind
ensemble or wind orchestra, since it demands a rather special collective virtuosity on the part of
the performers. The form may be perceived as binary, emphasizing the angular arpeggiated motive
(already heard in the opening of the piece), and then the syncopated melody (as in measure 58).
Part A is divided into two sections: the first (measures 1-27), which is more intermittent, intro-
duces the main motive and one of its broadened forms (measure 14); the second section once
again presents the thematic motive, prioritizing continuity and rhythmic flow, not only with the
support of the percussion section, but also with the lowest level of textural mobility applied to the
melodic line, which remains stable in one or in another section of the ensemble. A final variation
of the motive (measure 48) is presented in the concluding segment, which restates, once more, the
rhythmic configuration with which the piece will end. Part B then introduces the contrasting the-
matic element, and brings back a more diverse and colorful textural treatment. In these passages,
the necessity of dedicating particular attention to articulation is evident. This is so because the
melody is constructed by broadening the second motive of the phrase, which is repeated twice by
saxophones, flutes, and oboes, with a progressive thickening of the texture – that is, with each
repetition of the motive, its characteristic features must be preserved, in order to maintain the
global integrity of the phrase. More than that: the contrasts of articulation and dynamics are the
elements that most clearly determine the differences of function, particularly in this musical genre,
which is so strongly marked by the expressivity that characterizes the action of the accordion’s
bellows. For example, the connection (measures 65-66) to the second phrase demands a specific
finishing that particularly highlights the marcato, since this will help to distinguish it from the
lightness of the main motive. At the conclusion, imitation based on one of the thematic cells leads
to a conclusive tutti on the same configuration, which ends part A.
Marcos Nogueira
Professor of Harmony and Composition
Universidade Federal do Rio de Janeiro’s School of Music
Brazilian Music for Band Series — Baião de Lacan VI

CARLOS ALTHIER DE SOUZA LEMOS ESCOBAR – GUINGA (1950)
C arlos Althier de Souza Lemos Escobar, known as Guinga, was born in Rio de Janeiro and
began to compose at the age of sixteen. He worked with Clara Nunes, Beth Carvalho,
Alaíde Costa, Cartola and João Nogueira, among other Brazilian fine artists. Various of his songs
were recorded by important names such as Elis Regina, Michel Legrand, Sérgio Mendes, Leila
Pinheiro, Chico Buarque, Clara Nunes, and Ivan Lins. His compositions have been written in
partnership with some of the most important Brazilian songwriters, such as Paulo César Pinheiro,
Aldir Blanc, Chico Buarque, Nei Lopes, Sérgio Natureza, Nelson Mota, Simone Guimarães,
Francisco Bosco, Mauro Aguiar, and Luis Felipe Gama. All 14 tracks of the CD Catavento e
Girassol (The Pin-Wheel and the Sunflower), recorded by Leila Pinheiro, were written by Guinga,
in partnership with Aldir Blanc. The song Chá de panela awarded Guinga the 1996 Sharp Award
for Best Brazilian Popular Song. Guinga’s complete biography - Guinga, os mais belos acordes do
suburbio (Guinga, the most beautiful chords of the suburbs) - was written in 2002 by the Brazilian
journalist Mario Marques, and published by Editora Gryphus. In 2003, the same editor released
the songbook A música de Guinga (Guinga’s Music) at the Bienal do Livro, in Rio de Janeiro.
Guinga’s sixth CD, Noturno Copacabana, also released in 2003, was acclaimed by the critics.
HUDSON NOGUEIRA (1968)
A saxophonist, clarinetist, arranger and composer, Hudson Nogueira studied composition with
Edmundo Villani-Côrtes. He was a regular musician at the Banda Sinfônica do Estado de São Paulo
(State of São Paulo Symphonic Band) and also a member of Banda Savana. In 2005 he made various appear-
ances in Japan, where he had the chance to perform 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,
Ivan Lins, Jane Duboc, Guilherme Arantes, Toquinho, Gilberto Gil, Moraes Moreira, Sujeito a Guincho, Banda
Savana, Banda Sinfônica Jovem do Estado de São Paulo (State of São Paulo Junior Symphonic Band), Banda
Sinfônica do Estado de São Paulo, Orquestra de Sopros Brasileira (Brazilian Wind Orquestra), Orquestra
Paulista, and Banda Sinfônica da CSN (CSN’s Symphonic Band). He composed original works for soloists,
groups and institutions, such as Fernando Dissenha, Dale Underwood, Fred Mills, Paulo Sérgio Santos, James
Gourlay, Madeira de Vento, Osland Saxophone Quartet, University of Minnesota, University of Georgia,
University of Central Florida and University of St. Thomas. His arrangements and compositions are present
in more than 20 CDs, recorded both in Brazil and abroad. His works have been performed throughout the
world; some of them have been published by editors such as Wind-Gallery (Japan), Ruh Music (the European
branch of the Barnhouse American editors) and DDP Brazil Music (United States).
Most important compositions: Retratos do Brasil, Milênio, Carnaval de Rua, Senzalas, Maracatus e
Quilombos, Brasileirismos nº 1, Sons do Brasil, Miniaturas Brasileiras, Do Coração e da Alma, Virtuoso, As
Quatro Faces do Choro, Um Chorinho pro Adolph Sax, Sax Colossos, Um Chorinho pros Brasszucas, O Rei
do Maracatu, Alegria do Carnaval, Pingo no Choro.
VII Brazilian Music for Band Series — Baião de Lacan

ALDIR BLANC MENDES (1946)
A carioca (native of Rio de Janeiro) from the Estácio district, Aldir Blanc began to compose
early in adolescence. In the sixties he studied Medicine and, while still a student, he had
several of his songs accepted at various important festivals, such as the Festival Universitário da
Música Popular Brasileira (University Festival of Brazilian Popular Music, versions II and III, in
the years 1969 and 1970) and the Festival Internacional da Canção (Brazilian International Song
Festival, versions III and V, in the years 1968 and 1970). In the beginning of the seventies, Aldir
was a member of the Movimento Artístico Universitário (University Artistic Movement), known as
MAU, along with many of the most promising Brazilian composers of his time: Ivan Lins,
Gonzaguinha, César Costa Filho and Marco Aurélio. In that period he met João Bosco, who
became one of the most important and constant partners. Elis Regina, a legend in the Brazilian
popular music, recorded their song Bala com Bala in 1971. She would also record Mestre-sala dos
Mares, O Bêbado e a Equilibrista, Kid Cavaquinho, De Frente pro Crime, Dois pra Lá, Dois pra Cá
and Rancho da Goiabada. Aldir Blanc had an important role in the struggle for securing intellec-
tual rights for creators; he was one of the founders of Sombrás (an entity which supported com-
posers fighting for their intellectual rights) and of SACI, Sociedade do Artista e Compositor
Independente (Society of Independent Artists and Composers). Guinga and Moacir Luz are also
among his partners. In 1996, the Brazilian singer Leila Pinheiro recorded the album Catavento e
Girassol, only with songs composed by Guinga and Aldir Blanc. Specifically with Guinga, Aldir
also wrote Baião de Lacan, Canibaile, Chá de Panela, O Coco do Coco, and many others. Aldir is
also a columnist who maintains a column in Rio’s newspaper O Dia. In 1996 he released the
anniversary album Aldir Blanc – 50 Anos (Aldir Blanc, 50 Years), with the participation of various
special guests. More than 600 of his songs were recorded by many artists, although almost the
same number of original songs, composed with various partners, remain unrecorded.
Brazilian Music for Band Series — Baião de Lacan VIII

BAIÃO DE LACAN
music by Carlos Althier de Souza Lemos (Guinga) — lyrics by Aldir Blanc
A terra em transe franze The land in distress wrinkles

Racha pela beira Cracks down the edge
Feito cabaço de freira Like a nun’s hymen
Solta e lá vem um! It releases, and there it comes!
Mas o Brasil ainda batuca na ladeira But Brazil is still drumming on the hillside
Bafo, Congo, Exu, Taieira Bafo, Congo, Exu, Taieira
Mais Cacique e Olodum Plus Cacique and Olodum,
Deus salve o budum! God save the budum!
Viva o murundum! Long live the murundum!
E é tuntum, tuntum! And it’s tuntum, tuntum!
Eu ouço muito elogio à barricada I hear lots of praise for the barricade
Procuro as nossa por aqui I look for ours around here
Não vejo nada I don’t see anything
Só tomo arroto I only take a belch
E perdigoto no meu molho And partridge in my sauce
Se tento ver mais longe If I try to see farther
Tacam o dedo no meu olho They stick their finger in my eye
Quem fica na barreira One who stays at the barrier
Pode até ficar roncolho Could even get castrated
An impresario wanted
Um empresário quis Me to go to Massachusetts
Que eu fosse a Massachutis OK, my boy!
Oquêi, mu boy!
Cheguei pra arrebentar e putz! I came here to dominate - and wow!
Voltei sem calça e um quis Came back pant-stripped
me sequestrar... And someone tried to kidnap me
Ao conferir o saldo, Checked my balance,
No vermelho fui parar It was red!
Tô com João Ubaldo: I have to agree with João Ubaldo:
Chega dessa Calcutá. Enough of this Calcutá.
Eu tô a mil por aí I am frantic all around

Atleta do Juqueri A Juqueri athlete
Um sócio a mais da Golden Cross Just one more Golden Cross
de carteirinha... registered member…
Tanto sofri nesse afã I’ve been so damn beated
Que um seguidor de Lacan That one follower of Lacan
Diagnosticou stress Defined my problem as stress
E me mandou pra roça descansar...
And sent me to the country to rest
Eu fui pra Limeiro So I went to Limeiro
E encontrei o Paul Simon lá And found Paul Simon there
Tentando se proclamá Trying to prove he was
Gerente do mafuá... A native of the place himself
Se os peão não chiá If the cowboys don’t complain
O Boi Bumbá vai virar vaca. The Boi Bumbá will turn into a cow!
! !
IX Brazilian Music for Band Series — Baião de Lacan

Série Música Brasileira para Banda
Partitura Completa
Duração aproximada: 3'28" Baião de Lacan Guinga e Aldir Blanc
Allegro Moderato (R90) Baião arranjo: Hudson Nogueira
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© EMI (Edições Musicais Tapajós Ltda.)
© EMI (Edições Musicais Tapajós Ltda.)
Funarte Ministério da Cultura 2008
Funarte, Ministério da Cultura, 2008
MBB0007 - Baião de Lacan / Todos os direitos reservados - Impresso no Brasil
www.funarte.gov.br / projbandas@funarte.gov.br
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FUNARTE — Ministério da Cultura

Série Música Brasileira para Banda — Baião de Lacan 2
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3 Série Música Brasileira para Banda — Baião de Lacan
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G !
16
tgl., afx.
pand.

16
z z z
virada
Perc. 3

bat.comp.
(
(

5
D
D D O
21
, ¤ , ¤ , ¤ z z z
Pic.
O
,
, ¤ O , ,
21
Fls.1, 2 ¤ z z z ¤ ¤ , ¤
(

¤ O , ¤ O , ¤ O ,
21
Obs. 1, 2 z z z ¤ , ¤ , ¤ ,
(
! D ! !
! ! !
21
" O O
Fgts. 1, 2
(

O O D O , ,

,

,
21
Cl. E D , ¤ , ¤ , ¤ ¤ O , ¤ ¤ O , ¤ ¤ ¤
(
O
(Req.)

21
D D O O O , O , O ,
1 , ¤ , ¤ ¤ ¤ , ¤ ¤ , ¤ ¤ ,
(
Cls. B D
K ,
21
O ¤ O ¤ D D O ¤ ¤ ¤ ¤ ¤ ¤
a2
2, 3 O , , , , , ,
(

21

! !
Cl. Bx.
!
( ! ! !
tocar sempre O ! ! ! ! ! !
, O D
21

O
a2
Sxa. E D 1, 2 ¤
G
tocar sempre ,
! ! ! ! ! !
21
Sxt. B D O ¤ D D O O
G
tocar O , O D

O ! ! O ! ! O ! !
21

sempre
¤ O
Sx.bar. E D
G
21
K K ! !
1, 2 z z z z ¤ O ¤

Tpas. F ( G
K
z z z z ¤ ¤ K O

3, 4 ! !
( G
! O ! !
D
21
1, 2 O z z z
G ª G ª G ª
Tpts. B D
! ! !
21
3, 4 O z z z
G ª G ª G ª
21 ! D ! ! O O O
" ¤ , ¤ , ¤ , ¤ , ¤ , ¤ ,
1
G ª G ª G ª (
Tbns.
D ! ! ! O
, O
, O
,
O D
21
" ¤ , ¤ ¤ , ¤ ¤ , ¤
2, 3
G ª G ª G ª (
21
" ! ! O ! ! O ! ! O ! !
O O
Bomb.
21 G ª! G ª G ª
"
Tb. O ! O !
! G ª G ª !
(
! !
G ª
O ! ! ! ! !
21
" O
Cb. !
G ª G ª G ª (
21
" z z
! ! !
Timp. !
G G
D , D D O ,
,
21
Tec. ¤ ¤ ¤ z z z
xilo, bells
21
z z z
trgl. + pand.
Perc. 1, 2
tgl., afx.
pand.
(

crash

21
Perc. 3
bat.comp.

6
! !

27 28
Pic. z z z z z
G
! !

27
z z ¤ , ¤ , ¤ , ¤ , z
Fls.1, 2
G (
! !
K K
27
z z ¤ ¤ ¤
, ¤ z
Obs. 1, 2 ,
G (
27
" ! !
Fgts. 1, 2 z z z z z
G
27
! !
z z ¤ , ¤ , ¤ , ¤ , z
Cl. E D
(Req.) G (
! !
, ,
, ,
,
27
1 ¤ ¤ ¤ ¤ , ¤ , ¤ ¤ ¤ , z
(
Cls. B D ! !
K K K K
27
O K
K
O K
K
2, 3 ¤ ¤ O ¤ O ¤ O ¤ ¤ O ¤ O ¤ O z
(

27
Cl. Bx. z z z z z
! !
G
O ! ! O O O O O
, ,
27
Sxa. E D 1, 2 ¤ , ¤ , ¤ ¤ , ¤ , ¤ , ¤ ¤ , ¤ , ¤ ,
(
! ! O O , O O , O
, ,
27
Sxt. B D ¤ , ¤ , ¤ ¤ ¤ , ¤ , ¤ ¤ ¤ , ¤ ,
(
! ! , ,
, ,
, , ,
,
27
Sx.bar. E D ¤ ¤ ¤ ¤ , ¤ ¤ ¤ ¤ , ¤ ¤
(
! !
O
27 28
1, 2 z z z z z
Tpas. F ! !

3, 4 z z z z z
!
tocar sempre
!
O

27
a2
z z
somente 2a vez
1, 2
G G ! !
Tpts. B D ! !
O

27 tocar sempre

a2
z z
somente 2a vez
3, 4
G G ! !
! !
O ! O
! !
O
!

27
"
1
G
Tbns. ! ! O ! O
!
O

O !

!

27
"
2, 3
G
27
" ! ! , ,
Bomb. ¤ , ¤ , ¤ , ¤ , ¤ , ¤ ¤ , ¤ , ¤ , ¤
27 G (
"
Tb.

G! ! (
!
!

! ! !
!

! ! !
27
" ! ! ! ! ! ! ! ! ! ! !

pizz.
Cb.
G (
27
" z z z z z
! !
Timp.
! !

27
z z ¤ , ¤ , ¤ , ¤ z
Tec.
xilo, bells
,
G (
! breque
! P P P P P P
27 trgl.
Perc. 1, 2
tgl., afx.
G 2 simile
pand.

27

breque
Perc. 3
bat.comp.

2

7
33
! 38
Pic. z z z z z
G
! D! !

O
33
Fls.1, 2 z z z z
( G
! !

!
O O
O
33
Obs. 1, 2 z z z z
( G
D !
, O ,
33
" ¤ ¤ z O ¤ ¤ O ,
,
a2
Fgts. 1, 2 °
G G (

33
!
Cl. E D z z z z z
(Req.) G
! O ! ! O ! O ! O

33
1 z ¤ , ¤ ,
( G
Cls. B D
O ! O ! K K O ! O ! ! O

33
z ¤ O ¤
2, 3
(
G

K
33
z z z z ¤ O K ¤
(
Cl. Bx.

G !
O ! ! O ! ! !
, O O O
33
Sxa. E D 1, 2 ¤ ¤ O , ¤ ,
¤
,
z
G
O ! O ! ! O ! !
,
33
Sxt. B D ¤ , ¤ , ¤ ¤ , z
G

33
! ! ! !
Sx.bar. E D ¤ , ¤ , ¤ O , ¤ , z

G !

38
K
33
z z z z z ¤ K ¤
1, 2 O
Tpas. F (

3, 4 z z z z z ¤
K
¤ K
O
(
K» O !
33
1, 2 z z ¤ O O z
G
Tpts. B D
» O
33
3, 4 z z ¤ K O O O z
G !
D O D O !
O

33 (Trompas)
" ¤

, ¤ ,
1
2
Tbns. D O D O !
O O
33
"

(Trompas)
¤ O ¤
2, 3 , ,
2
33
" ! ! ! ! !
Bomb. ¤ , ¤ , ¤ O , ¤ , O z
33
( G
"
!

! ! !
Tb.

!

! !
! ! ! G ! !
(
! ! ! ! ! ! ! ! ! ! ! !
33
"
Cb.
G (
33
" z z z z z
! !
Timp.
G
33
!
Tec. z z z z z
xilo, bells
G
breque P P P P P P
trgl. + afoxê
33
Perc. 1, 2 , ¤
tgl., afx. 2
pand.

33

virada breque
Perc. 3

bat.comp.
( 2

8

39
Pic. z z z z z z
O !
!

39
z z z
a2
Fls.1, 2
G
O

39
z z z
tocar sempre a2
Obs. 1, 2
G ! !
39
"

O , ! !
O
¤ O , ¤ , ¤ ¤ ¤ O , ¤ , z z
Fgts. 1, 2 , (
O ! !

39
Cl. E D z z z
(Req.) G
O O
O O O
39

1 ! ! ! !
Cls. B D
O O
O O
39
2, 3 ! !

! !
O
K K K
39
K K K
Cl. Bx. ¤ ¤ O ¤ O ¤ ¤ ¤ O z z O !
!
(

39
Sxa. E D 1, 2 z z z z z z

39
Sxt. B D z z z z z z

39
Sx.bar. E D z z z z z z

K K K
39
¤ ¤ K ¤ K ¤ ¤ ¤ K z z O ! D
1, 2 O O O !
Tpas. F (

¤ K ¤ K ¤
K
¤ K ¤ K ¤ K z z O
3, 4 O O O ! !
(
K K
39 surdina reta (straigth)
1, 2 z z z ¤ O ¤
,
¤
,
¤ O z
(
Tpts. B D
K K
K ¤ O K
39
¤ O ¤
surdina reta (straigth)
3, 4 z z z ¤ z

(

!

!
(Trompas)
39
D
" ¤ , ¤ , ¤ , ¤ , ¤ , ¤ , ¤ , ¤ , ¤ , ¤ ,
1
2 2 ! !
Tbns.

(Trompas)

¤ O ,
D O
39
" O

O

O

¤ ¤ O , ¤
2, 3 ¤ , ¤ , ¤ , ¤ , ¤ , ¤ , , ,
2 2
! !
39
" z z z ¤ O , ¤ , ¤ , ¤ O ,
Bomb.
2
39
"
Tb. !
!
! ! !
!

! !
! ! ! !
! ! ! ! ! ! ! !

! ! ! !
39
"
Cb.
39
" z z z z z z
Timp.

39
Tec. z z z z z z
xilo, bells
39

Perc. 1, 2
tgl., afx.
pand.

39
Perc. 3
bat.comp.

9
48

45
Pic. z z z z z z
D !
45

a2
O D O O
Fls.1, 2 ¤ ,° z z z
G ª
!
»
45 somente 2a vez
¤
a2
K D O O z z z
Obs. 1, 2 D
G ª ! !
O O
! !

45
" ¤ O , ¤ , z
a2
z
Fgts. 1, 2
G
O !
, O O
45
Cl. E D ¤ ° z z z
(Req.) ª
! O
O O
45
1 O O z
ª G
Cls. B D O
O O O

45
2, 3 O O z
ª! G

45
¤ K ¤ ¤
K
z K» z z
Cl. Bx. º
! 2
ª
O ! ! O O
somente 2a vez
O
45
z ¤ ¤ ¤ O ºº
Sxa. E D 1, 2 , , ,
2 ( 2
! O ! K K ¤
45 somente 2a vez
Sxt. B D z , ¤ ¤ º
2 ( 2
! ! O , , ,
45 somente 2a vez
Sx.bar. E D z ¤ ¤ ¤ º
2 ( 2

45
K K
48
K K
1, 2 ¤ ¤ z z O

¤ O ¤

Oº
º
( 2
Tpas. F

3, 4 ¤ K ¤
K z z
K ¤ K
¤ º
O º
( 2

45
! O ! ! O !
z z z
abrir a2
1, 2
!
G
Tpts. B D

45
! D! ! D !
z z D z
abrir a2
3, 4
!
G
! !

! D ! ! ! O ! O

45
" ¤ , ¤ , , ¤ z
1
2 G
! !
Tbns.
D O ! D ! ! D !

O ,
45
" ¤ O
, ¤
, ¤ z
2, 3
2 G
, ! ! O!
45
" ¤ O , ¤ ¤
Bomb.
2
, , ¤ º
45
ª ( 2
"
Tb. !

! D
! ! ! ! ª ! ! ! D
! ! !
(
! ! ! ! ! ! ! ! ! ! ! !

45
" D D
Cb.
ª (
45
" z z z z z
! !
Timp.
G
45
K» D O !
Tec. ¤ D O z z z
G
xilo, bells
! breque P P P P P P

trgl.
!
45
Perc. 1, 2
tgl., afx.
( 2 simile
pand.
45
virada

virada
Perc. 3
bat.comp.

( 2

10
D ! ! ! ! !
O
51

Pic. z z
G ! !
!
! O
!
! O O
D

! ! !
51

a2
Fls.1, 2
G
! !
51
O
D

!
D O O ! !
O
z z
tocar sempre a2
Obs. 1, 2
! G
! ! D! ! ! ! D
O O D
51
" z O O z D
Fgts. 1, 2
(! D
!
D G
O ! ! ! ! !
51
z z O
Cl. E D
(Req.) G ! !
51
! !
O
O

! ! !
1 z
G
Cls. B D O
O ! ! O O O ! ! ! O O ! ! O O
51
2, 3 O z
G

51
z z
Cl. Bx.
! D! !
D! D! O
( G ! ! ! ! O
! !
! ! ! O ! O !
O ! ! O ! ! O
51

O
a2
Sxa. E D 1, 2 z
( G G
51
! ! ! D ! ! D ! ! O ! ! ! !
Sxt. B D z O D
( G G
!
51
! ! ! ! !
O z D O
Sx.bar. E D
( G G! ! ! ! ! O

51
z z z z z
1, 2
!
( !
Tpas. F

D z z z z z
3, 4 O ! !
( ! !
O ! ! !

O O
51
z z O
1.
1, 2
G G
Tpts. B D ! !
O ! O O O O ! ! O O
51
3, 4 z z z z
Gsomente 2a vez
51 O O Oº D! ! ! ! !
" z , ¤ , ¤
1
( 2 G
somente 2a!vez
Tbns.
º ! ! D O ! ! D O
O D
51
" z ¤ ¤ º
2, 3 , ,
( 2 G
51
" O ! ! ! ! ! ! ! ! D
Bomb. z D
! O
51
( G G! !
"
O
!
Tb.
D!
! ! D
! ! D
! ! ! GD!
! ! ! D
! ! ! ! ! ! ! ! ! ! D

51
" D D D D O
arco
Cb.
! ! !
G
51
" z z z z z z
Timp.
51
O D ! ! ! ! !
Tec. z z

xilo, bells
G
51

Perc. 1, 2
tgl., afx. (
pand.
virada
51 crash
Perc. 3
bat.comp.
(

11
@

57 59
, ¤ z z z z z
Pic.
57

@
D ! O !
, ¤ z z z
Fls.1, 2
G
@
57
Obs. 1, 2 , ¤ z z z z z
" O @ ¤
57
D D O D
Fgts. 1, 2 , z ¤ , ¤ , ¤ O , ¤ ,
(

57 @
Cl. E D , ¤ z z z z z
(Req.)
@ O !
57
, ¤ ¤ ,
somente 2a vez

1 O K
¤ z
G !
Cls. B D
O @ O !
57
, ¤ ¤ ,
somente 2a vez
O ¤ z
2, 3

! K
G

57
¤ z ¤ K ¤ K ¤ ¤ K
K
Cl. Bx. K
W (
57
O O O O ! O
, ¤ z ¤ , ¤ ,
a2
Sxa. E D 1, 2 !
2 (
O ! O !
K K
57

Sxt. B D K
¤ z ¤ ¤
2 (
K K
57
Sx.bar. E D K ¤ z ¤ ¤ z z
2

59
¤ K
57
¤ z
a2
O K

1, 2 O
G ! !
Tpas. F

¤ K ¤ z
a2
O K

3, 4 O
G ! !

@
57
1, 2 , ¤ z z z z z
Tpts. B D
K
57
3, 4 ¤ z z z z z
W
@ D
(Trompas)
57 !
" , ,

D O , ¤ ,
1 ¤ ¤ K
( ! 2
Tbns. (Trompas)

O
!
@
57
" D
¤
a2
, O
, ¤ ¤ K
,
2, 3
( !
,
2
D !

57
" K ¤ ¤ , O O K ¤ z
Bomb. O
W ( !
57
"
K ¤ z
!
Tb.
O
W (
! ! ! ! ! ! !
! ! ! ! ! ! ! !
57
"
O K ¤
pizz.
Cb. z
W
(
57
"
Timp. K ¤ z z z z z
GW
@

57
Tec. ¤ z z z z z
xilo, bells
,
, P P P P P P
trgl. + pand.
57 breque
Perc. 1, 2 ¤ z
tgl., afx. 2
pand. prato de condução (ride)
57
¤
z
breque
Perc. 3

bat.comp. ,
2

12
!
67 D

63
Pic. z z z z z z
!
D

D! O ! !
K D O !
tocar sempre
D
63
O O ¤ ¤ O
Fls.1, 2 k G
! !
D O !
D O K ¤ D
D
63
¤ z z
somente 2a vez
Obs. 1, 2
G k
63
" D O
Fgts. 1, 2 z z z z ¤ O , ¤ , ¤ O ,
(
! !
O O O
63
z z z z
tocar sempre
Cl. E D
G !
(Req.) ! ! ! O ! !
63
, tocar sempre
O
1 ¤ ¤ , ¤ , , ¤ z
( G
Cls. B D O ! ! ! !
K
O K ¤
¤ O
63 tocar sempre
¤ O ¤ , O
! z
2, 3 ( ,
G

63
z z z z ¤ K ¤ K ¤ K
Cl. Bx.

(
! O
O O !
K O
O
¤ ,
63
Sxa. E D 1, 2 O ¤ ¤ O , ¤ ,
G
! k (
ª
! O ¤ K ¤ K ¤ ,
63
Sxt. B D O K ¤
G ! ª! k (
O

O ! ! O ! ¤ , ¤ K

63
Sx.bar. E D ¤ ¤ O ,
,
G ª k (
O O
67
K
K
63
¤ ¤ O ¤ O z K ¤
1.
1, 2
!
Tpas. F ( ª! G

¤ K ¤ K
¤ z
2.
O O
K ¤
3, 4 O

G !
( ª!
!
! ! ! O
¤ , K ¤
63
O
tocar sempre
1, 2 z z z
G ! G
Tpts. B D !
K
63
K
tocar sempre
z z ¤ O O ¤ z
!
O
3, 4
G! ! ! O G

O ! ! ! D ! D !
D O !
(Trompas)
63
O !
O
" ¤ , ¤ , ¤ , , ¤ , ¤
1
G G
O !
G
D ! ! !
D D O!
Tbns.
¤ ,
63
" ¤ O , ¤ , ¤ z
2, 3
G
,
G
! ! ! D !
¤ K
63
" z z ¤ , ¤ O ,
Bomb.
63
G (
"

! ! ! ! !
Tb.

! ! ! !
!
! ! ! !
! ! ! ! ! ! ! ! ! ! ! ! ! !

63
"
Cb.
63
" z z z z z z z
Timp.
63
D !
Tec. z z z z z z
xilo, bells
G
63

Perc. 1, 2
tgl., afx.
pand.
63

Perc. 3
bat.comp.

13
O ! ! !
O O

70
z z z ¤ ,°
Pic.
! !
O ! !
O D O D
somente 2a vez
70
O
Fls.1, 2 z z

O ! ! D !
D O D O
70
Obs. 1, 2 O z z O

D !
O O
@ K»
¤ ,
70
" ¤ , z z ¤ ¤
Fgts. 1, 2 ° ,
G G
!
! !
O ! º
somente 2a vez

70
Cl. E D O z ¤ ,°
! G
(Req.)
! !
O ! O ! O D º
º D
70

1
G
Cls. B D ! O D !
O O O !
O ! º D O !
70
2, 3 O º
O
G

70
¤ K z z ¤ K» ¤ ¤ »
Cl. Bx. K K
G ! W !

! G
70
O !
O ! ºº
Sxa. E D 1, 2 ¤ , ¤ z z
G
O ! !
K O º
70
Sxt. B D ¤ ¤ z z
G
!
O ! ! º
K
70
Sx.bar. E D ¤ ¤ z z
G
!
70
1, 2 z z z ¤ , ¤ z
,°
Tpas. F G» K

z z z ¤ K O ¤ z
3, 4

G!

O O ! O ! ! O @ !
¤ O , ¤ O ,

tocar sempre

70
O z , ¤
1, 2 ° °
Tpts. B D G
O O O !
@ !
¤ O
70 tocar sempre
O O z ¤ , ¤
3, 4 ! ! ,° ,°
O ! ! G
tocar!

!
70 D O sempre O @
" z ¤ ,° , ¤ ¤ ,°
1
G
O ! !
Tbns. 70
" D D O O O !
@ D!

¤ ,°
tocar sempre
2, 3 z , ¤ ¤ ,°
G
!
K O »
¤ K K »
¤ O K
70
" ¤ ¤ z ¤
Bomb. !
70 G! W
" z ¤ K» ¤ ¤ »K
K
! !
Tb.
! ! ! ! O !
G W
! ! ! ! ! ! »
K ¤ O K
70
" ¤ ,°
arco
Cb. z ¤
G W !
70
" z z z z z z
Timp.
O !
O ! O D ! º
70
Tec. O z z D
xilo, bells
70
z z z z
breque
Perc. 1, 2
tgl., afx.
pand. breque
70
breque ¤
z ¤ ¤
virada virada
Perc. 3
, , ,
bat.comp.
° °
( G

14
1
! ! ! ! ! ! !

76
z z z z ¤ ,
tocar
Pic.

! ! ! ! ! ! !

76
z z z z ¤ ,
tocar
Fls.1, 2
G
! ! @ D @ a!2 D ! ! ! ! O ! ! ! !

¤ D O D O
76 tocar
z z O
Obs. 1, 2 ,

D ! ! ! O D ! ! D D
O O O D ! !
76
" z z ¤ ,
Fgts. 1, 2 !
! W
! ! ! ! !
! ! ! !

76
¤ ,
tocar
Cl. E D z z z z

! ! ! ! ! !
(Req.)
! !
! ! O ! @ D @
76
1 z ¤ , ¤ ,
G
Cls. B D
! ! ! O ! @ O @ ! ! !
O O O O ! ! O O ! !
¤ O ,
76
2, 3 z ¤ ,
G

76
¤ K ¤ K ¤ K
D!
! ! ! W O
Cl. Bx. O
!
! W W ! ! ! O
! !
@ O ! ! O ! ! ! ! !
¤ ,
76
Sxa. E D 1, 2 z z z ¤ O , O

! O ! @ ! O ! ! ! !
¤ O , O D
76
Sxt. B D z z z D O ! !

¤ K
76
@
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Perc. 3 z z
bat.comp.


EDIÇÕES
FUNARTE FUNARTE
’S EDITIONS PARTITURAS
MUSIC
OFDE SCORESPARA
FOR BANDS
ANDAS
1995
Golden Repertoire of Francisco Manuel da Silva/Joaquim Osório Duque Estrada
Brazilian Bands Hino Nacional do Brasil
Antônio do Espírito Santo
Avante Camaradas / Dobrado 220 2008
Golden Repertoire of
Gilberto Gagliardi Brazilian Bands
Cidade de Diadema (dobrado) Anacleto de Medeiros
Jubileu (dobrado)
Joaquim Naegele
Mão de Luva (dobrado) Francisco Braga
Barão do Rio Branco (dobrado)
Silvestre Pereira de Oliveira
Amor de um Pai (dobrado) Joaquim Naegele
Professor Celso Woltzenlogel (dobrado)
Antônio Pedro Dantas (Tonheca Dantas)
A Desfolhar Saudades (valsa) Joaquim Naegele
Estrela de Friburgo (polka for solo trumpet and band)
2000
Golden Repertoire of Joaquim Naegele
Brazilian Bands Ouro Negro (dobrado)
Antonio do Espírito Santo
Avante Camaradas Anacleto de Medeiros
Dobrado 220 (dobrado) * reissue Os Boêmios (Brazilian tango)
Ceciliano de Carvalho José Genuíno da Rocha

Dever do Mestre (dobrado) Testa de Aço (frevo)
Gilberto Gagliardi Pedro Salgado

Cidade de Diadema (dobrado) * reissue Dois Corações (dobrado)
João Firmino de Moura Hymns of Brazil

Saudades de onde Nasci (valsa) D. Pedro I/ Evaristo da Veiga
Hino da Independência
João Trajano da Silva
Janaina (ciranda) Leopoldo Miguez / Medeiros e Albuquerque
Hino da Proclamação da República
Joaquim Naegele
Mão de Luva (dobrado) * reissue Brazilian Music for Bands
Edu Lobo/Capinam
José Aniceto de Almeida Ponteio (baião; arrangement by Hudson Nogueira)
Cecília Cavalcanti (valsa)
Guinga / Aldir Blanc
José Barbosa de Brito Baião de Lacan (choro; arrangement by Hudson Nogueira)
Bento Barbosa de Brito (dobrado)
Hermeto Paschoal
Levino Ferreira da Silva Bebê (baião; arrangement by Hudson Nogueira)
Lágrimas de Folião (frevo)
Noel Rosa
Luiz Fernando da Costa Palpite Infeliz (samba; arrangement by: Hudson Nogueira)
Archanjo Soares do Nascimento (dobrado)
Hudson Nogueira
Manoel Ferreira Lima Quatro Danças Brasileiras (samba, maxixe, marcha-rancho, choro)
Diana no Frevo (frevo)
Ivan Lins / Vitor Martins
Manoel Rodrigues da Silva Novo Tempo (arrangement by Hudson Nogueira)
Dengoso (choro)
Carlos Alberto Braga (Braguinha) / Alberto Ribeiro
Severino Ramos Copacabana (samba; arrangement by José Carlos Ligiéro)
Tubas de Papelão (dobrado)
José Ursicino da Silva (Mestre Duda)
Silvestre Pereira de Oliveira Suíte Nordestina (baião, serenata, maracatu, frevo)
Amor de um Pai (dobrado) * reissue
José Ursicino da Silva (Mestre Duda)
2004 e 2008 Suíte Pernambucana de Bolso (caboclinhos, serenata, côco, frevo)
Hymns of Brazil
Francisco Braga/Olavo Bilac Nelson Cavaquinho/Guilherme de Brito
Hino à Bandeira Nacional Folhas secas (samba; arrangement by Hudson Nogueira)
Patrocínio Realização

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BRAZILIAN MUSIC FOR BAND SERIES

FUNDAÇÃO NACIONAL DE ARTES / FUNARTE

DIRECTOR OF THE MUSIC CENTER

PROJECT COORDINATION BANDS

T ECHNICAL DIRECTION , ADAPTATION, REVISION AND STANDARDIZATION

CONSULTING – TABLE INDICATING T ECHNICAL LEVEL

CONSULTING – FLEXIBLE INSTRUMENTATION /ARRANGEMENTS

E LECTRONIC EDITING – SCORE AND INSTRUMENTAL P ARTS

T EXT E DITING AND REVISION

COVER AND ILLUSTRATION

Fundação Nacional de Artes – Funarte

III Brazilian Music for Band Series — Baião de Lacan

BRAZILIAN MUSIC FOR BAND SERIES

T he repertoire of this series emphasizes arrangements of MPB and original compositions.

Maestro Marcelo Jardim

Brazilian Music for Band Series — Baião de Lacan IV

*piccolo F French horn 1

flute F French horn 2

*oboe F French horn 3

*Bb clarinet Bb trumpet 2

*Bb bass clarinet trombone 3

Eb sax alto 1 euphonium

Eb sax alto 2 bass c

Bb sax tenor 1 timpani

Bb sax tenor 2 bells, xylophone

Eb sax baritone snare drum

cymbals, bass drum, ganzá

Eb sax horn 1 Bb barítono

Eb sax horn 2 Bb tuba

Eb sax horn 3 Eb tuba

Note to the Director

V Brazilian Music for Band Series — Baião de Lacan

Brazilian Music for Band Series — Baião de Lacan VI

HUDSON NOGUEIRA (1968)

VII Brazilian Music for Band Series — Baião de Lacan

Brazilian Music for Band Series — Baião de Lacan VIII

A terra em transe franze The land in distress wrinkles

Eu tô a mil por aí I am frantic all around

IX Brazilian Music for Band Series — Baião de Lacan

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

                ! breque  P P P  P P P      

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

FUNARTE — Ministério da Cultura

Ceciliano de Carvalho José Genuíno da Rocha

Gilberto Gagliardi Pedro Salgado

João Firmino de Moura Hymns of Brazil

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