Costa Carlos H 200208 Dma

PEDAGOGICAL GOALS ADDRESSED IN PUBLISHED INTERMEDIATE PIANO
REPERTOIRE COMPOSED BY BRAZILIANS SINCE 1950:
A SELECTED ANNOTATED BIBLIOGRAPHY
By
CARLOS HENRIQUE COUTINHO RODRIGUES COSTA
(Under the direction of Richard L. Zimdars)
ABSTRACT
The wealth of teaching material written by Brazilian composers since 1950 has
yet to be discovered and used. This study provides an annotated bibliography of
published intermediate piano pieces composed by Brazilians after 1950. Selected pieces
organized around technical and musical pedagogical goals are annotated.
Chapter One describes the method of research and defines the terms and delimitations of
the study. Chapter two entitled “Origins of eclecticism in intermediate piano literature
composed by Brazilian since 1950,” gives an overview of trends in Brazilian music.
Chapters Three through Fifteen contain the annotations for the pieces. Each chapter
addresses a specific goal, such as “articulation”, “syncopation”, and “contrapuntal
playing”. The terms lower intermediate, intermediate, and upper intermediate are used to
classify the difficulty level of each piece. Each entry includes the composer, title,
collection if applicable, publisher, date, level and performance time. A list follows which
includes style, markings, meter, key, form, harmonic language, pedal, and the largest
span. After a brief description of the piece, its greatest challenge is identified.
Chapter Sixteen summarizes styles and Brazilian musical characteristics.
Appendix A is a list of pieces alphabetized by composer, Appendix B is a statistical table
of the repertoire, and Appendix C is a glossary of Brazilian musical terms.
INDEX WORDS: Intermediate, Piano, Brazilian, Brazil

By
B.S., The University of Campinas, São Paulo, Brazil, 1992
B.A., The University of Alabama, Huntsville, 1996
M.M., Youngstown State University, Youngstown, Ohio, 1998
A Document Submitted to the Graduate Faculty of the University of Georgia
In Partial Fulfillment of the Requirements for the Degree
DOCTOR OF MUSICAL ARTS
ATHENS, GEORGIA
2002
© 2002
Carlos Henrique Coutinho Rodrigues Costa
All Rights Reserved

By
Approved:
Major Professor: Dr. Richard Zimdars
Committee: Dr. Leonard Ball

Mr. Mark Cedel
Dr. Ivan Frazier
Dr. David Schiller
Dr. Martha Thomas
Electronic Version Approved:
Gordhan L. Patel
Dean of Graduate School
The University of Georgia
August 2002
DEDICATION
ACKNOWLEDGEMENTS
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ............................................................................................... iv
CHAPTER
1 INTRODUCTION............................................................................................. 1
2 ORIGINS OF ECLECTICISM IN INTERMEDIATE PIANO LITERATURE
COMPOSED BY BRAZILIANS SINCE 1950 ................................................ 4
3 ALTERNATING HANDS................................................................................ 7
4 ARTICULATION ........................................................................................... 15
5 CONTEMPORARY TECHINIQUES ............................................................ 25
6 CONTRAPUNTAL PLAYING ...................................................................... 31
7 EXTENSIONS ................................................................................................ 38
8 FINGER INDEPENDENCE ........................................................................... 45
9 IMPROVISATORY ........................................................................................ 51
10 LEFT HAND MELODY................................................................................ 53
11 MELODY AND ACCOMPANIMENT......................................................... 58
12 SCALES ......................................................................................................... 67
13 STEADY BEAT THROUGHOUT................................................................ 69
14 SYNCOPATION............................................................................................ 73
15 WRIST/CHORD TECHNIQUE .................................................................... 81
16 CONCLUSION .............................................................................................. 84
v
REFERENCES.................................................................................................................. 86
APPENDICES................................................................................................................... 87
A PIECES LISTED ALPHABETICALLY BY COMPOSER .......................... 89
B STATISTICS TABLE OF ANNOTATED REPERTOIRE ........................... 93
C GLOSSARY OF BRAZILIAN MUSICAL TERMS ..................................... 97
vi
CHAPTER 1
INTRODUCTION
The purpose of this study is to compile a selected annotated bibliography of
published intermediate solo piano repertoire composed by Brazilians since 1950. Such a
bibliography, chiefly aimed at independent piano teachers, will aid them in selecting
literature to meet the needs of their intermediate students and acquaint them with the
wealth of teaching material written by Brazilian composers. Exposure to rhythms,
melodies, and harmonies found in Brazilian folk music will broaden their students’
musical experience.
Two annotated bibliographies of Brazilian piano music, both in Portuguese, have
been published. The first, by Maria Abreu and Zuleika Rosa Guedes, appeared in 1992.
It lists works written through 1950. Titled Piano na Música Brasileira, it is organized
chronologically by composer. Because of its vast number of entries, annotations are brief.
Some works receive no annotation. Occasionally, a major piece such as Villa-Lobos’
“Bachianas Brasileiras No. 4” receives a thorough description. No classification of
difficulty level is presented.
The second, written by Saloméa Gandelman and published in 1997, contains
piano music of thirty-six Brazilian composers written between 1950 and 1988. In 36
Compositores brasileiros: Obras para piano (1950 – 1988), Gandelman lists piano
repertoire at all levels. Organized by composer, it contains thorough annotations. Some
elementary and intermediate pieces by some composers have not been included.
1
Many dissertations and theses dealing with specific composers or specific forms
of piano music are found in English and in Portuguese. However, none address the
pedagogical content of the intermediate piano repertoire by Brazilian composers.
This study includes published intermediate piano pieces composed by Brazilians
after 1950. Pieces that best address specific technical or musical goals, are pianistically
idiomatic, cover a wide stylistic spectrum, and are available for purchase were chosen.
Studying scores and playing the pieces were the primary means of research.
This bibliography is organized by specific technical and musical goals. Each
chapter addresses a specific goal, and its annotations are ordered by ascending difficulty
level. Chapter titles are “alternating hands,” “articulation,” “contemporary techniques,”
“contrapuntal playing,” “extensions,” “finger independence,” “improvisatory,” “left hand
melody,” “melody and accompaniment,” “scales,” “steady beat throughout,”
“syncopation,” and “wrist/chord technique.”
The technical goal “extensions” involves playing figurations encompassing a
hand span an octave or larger. “Contemporary techniques” include atonal and serial
writing, unusual meters or rhythms, and effects that require nontraditional techniques
such as playing clusters, knocking on the wooden parts of the piano, and playing with the
fist.
Each entry includes the composer, title, translation of title, date of composition if
different from date of publication, publisher, date, level, and performance time. A list
follows that includes these headings: style, markings, meter, key, form, harmonic
language, pedal, and the largest span. Each annotation may include a discussion of form,
harmonic language, thematic material, compositional means, texture, rhythm and meter,
pedaling, and technical challenges. Since the majority of the scores contain fingering,
2
only its absence will be mentioned unless a printed fingering is deemed ill-advised. In
conclusion, the piece’s greatest challenge and secondary challenges are identified. All
translations from the Portuguese are my own.
The terms lower intermediate, intermediate, and upper intermediate are used to
classify the difficulty level of each piece. Lower intermediate pieces are comparable to
the easier pieces from J. S. Bach’s Little Notebook for Anna Magdalena Bach including
“Minuet in G Major,” BWV Anh. 114 and “Minuet in G Minor,” BWV Anh. 115;
Beethoven’s “Ecossaise in G”; and Schumann’s “The Wild Horseman,” Op. 68, No. 8.
Intermediate pieces are comparable to J. S. Bach’s “March in D Major,” BWV Anh. 122
from the Little Notebook; Clementi’s “Sonatina in C Major,” Op. 36, No. 1; Prokofiev’s
Music for Children, Op. 65; and Kabalevsky’s Children’s Pieces, Op. 27. Upper
intermediate pieces are comparable to J. S. Bach’s “Invention No. 1,” and Beethoven’s
“Für Elise.”
The sources used to prepare this document were the GALILEO Online Catalog;
The University of Georgia Main Library; catalogues of publishers and music stores found
on the internet; and Irmãos Vitale music store in São Paulo, Brazil. Other Brazilian
music stores as such as Loja Bevilácqua and Casa Manon, also in São Paulo, Lojinha do
Artista, in Campinas, and university libraries in Brazil were consulted. A reference guide
for the levels, adapted from Scanlan, M. K.’s dissertation “The development of guidelines
to assess the relative difficulty of intermediate level romantic piano repertoire” by Kathy
Winston was also used in assessing the level of difficulty1.
1
Cathy Wiston, Database for: 20th Century Intermediate Piano Literature: Leveling Guides.
http//mml.music.utexas.edu/pnorep/leveling.php
3
CHAPTER 2
ORIGINS OF ECLECTICISM IN INTERMEDIATE PIANO LITERATURE
COMPOSED BY BRAZILIANS SINCE 1950
A brief overview of Brazilian music history will provide some perspective on the
eclecticism found in the repertoire annotated in the following chapters. Western
European musical traits have strongly influenced the form and content of classical music
in Brazil. After its declaration of independence from Portugal in 1822, Brazil’s national
musical expressions slowly took form.
The compositions of Heitor Villa-Lobos (1887-1959) marked a new level of
artistic maturity in Brazilian classical music. He traveled around Brazil collecting folk
elements and incorporated them into his compositions. Other composers that made
important contributions to the Brazilian national musical idiom were Ernesto Nazareth
(1863-1934), Alberto Nepomuceno (1864-1920), Francisco Mignone (1897-1986) and
Camargo Guarnieri (1907-1993). Elements of folk music inherited from Portugal, Africa,
and Brazilian native Indians were researched and applied to classical music composition.
Folk forms such as capoeira, lundu, choros, batuque, samba and modinhas, to name a
few, served as raw material for these and other composers.
This musical idiom contains readily identifiable melodic and rhythmic elements.
Use of modal scales, particularly the Lydian (raised fourth step) and Mixolydian (lowered
4
seventh step) characteristic of northeastern Brazilian folk music, is present. Identifiable
rhythmic characteristics are preferences for duple meter and syncopated rhythms.
Nationalism received a rejuvenating impulse in 1922 with the “Semana da Arte
Moderna” (Week of Modern Art) in São Paulo, headed by Mario de Andrade (1893-
1945), writer and musician, and Heitor Villa-Lobos. This momentous event launched
discussion of new aesthetics in realms of visual art, literature, and music. “The right of
artistic experimentation, the updating of Brazilian artistic intelligence, the formation of a
national artistic expression, and the elimination of slavish imitation of European models”
were the principles of this modernist movement.2 The “Week of Modern Art” new ideas
and challenges were embraced by most composers. Rejectionist reactions were also
strong, even violent, during this week.
A movement called “música viva,” led by the disciples of Hans Joachim
Koellreutter (b. 1915), brought Arnold Schoenberg’s chromatic, atonal, and serial styles
of writing to Brazil in 1938. The main participants in this movement were Claudio
Santoro (b. 1919), César Guerra Peixe (b. 1914) and Edino Krieger (b.1928). Within a
few years strict serial writing was rejected by most of the composers involved with
“música viva,” but the excellent teaching of Koellreutter brought many of the latest
western European musical techniques to the attention of Brazilian composers.
Developing a national idiom was the main focus of Brazilian composers in the
first half of the twentieth century. By the second half, with nationalism established and
serial and atonal experiments conducted, composers started using this eclectic wealth of
2
David Appleby, The Music of Brazil (Austin: University of Texas Press, 1983), 92.
5
musical information to enhance their own style. Music of varying styles and combination
of styles resulted.
The intermediate piano repertoire written by Brazilians since 1950 bears witness
to this eclectic approach to composition. The annotated bibliography which follows
includes examples of works touched by national, baroque, classical, romantic, jazz,
popular, impressionistic, atonal, serial, and folk influences.
6
CHAPTER 3
ALTERNATING HANDS
Guerra-Peixe, César. “Mãos Cruzadas,” No.3 from Minúsculas - V (Crossing

Hands, No.3 from Miniatures - V). Irmãos Vitale, São Paulo, 1981. Lower intermediate,
0:30.
Style: toccata
Markings: Vivace (± = 132)
Meter: and
Key: E major
Form: through composed
Harmonic Language: diatonic with much chromaticism, polychords and tritone intervals
Pedal: no indications
Largest span: harmonic fifth
Polychords and rapidly alternating minor seconds create excitement in this lively,
agitated piece. An ascending four-measure alternating-hands pattern, employing dyads
and triads, culminates in a sustained D-major triad in the right hand. The left hand
crosses over to play an accented broken B-flat-minor triad. A footnote recommends
playing the accented notes with the second and third fingers on each note. Another two
measures of the alternating hand pattern follows, arriving on an E-major triad. In m.11
the texture changes to melody with sustained chord accompaniment. The melody, played
by the right hand crossed over the left, contains tenuto, staccato and accent marks.
Dynamics range from piano to fortissimo.
7
Playing quick and precise alternating chords with rhythmic accuracy is the main
challenge. Additionally, playing accented notes with good tone quality requires attention.
[CR: Articulation]
Leite, Clarisse. Contempla o Horizonte, Filho! (Contemplate the Horizon,

Son!). Ricordi Brasileira, São Paulo, 1973. Lower intermediate, 0:40.
Style: toccata
Markings: none
Meter:
Key: A minor
Form: AA' coda
Harmonic Language: traditional
Largest span: harmonic minor sixth
A poem appears on the cover of the score. The author’s translation follows:
CONTEMPLATE THE HORIZON, SON!
From the space ship, a metallic brilliance

over the ocean.
The moon falls as a giant drop
illuminating everything.
Shadows of silver stare at the blue earth,
and then disappear
in the absolute silence
Four short phrases printed between the staves suggest imagery: tudo é rubro
(everything is reddish); enluarado (moonlit night); o olhar abrange o horizonte (the look
reaches the horizon); n’um lampejo desaparecem em silêncio (quickly disappears in
silence).
8
Harmonic progressions moving in sixteenth-note alternating figuration form
sections A and A'. The chords change every measure. While the left hand plays single
notes, the right hand dyads range from a major second to a perfect fifth in the alternating
figuration. Section A' repeats the first four measures of section A one octave higher. In
great contrast with what precedes, the coda presents a legato eighth-note sequential solo
melody in a cadenza-like style for the right hand. The lower voice in the final cadence
features a suspension that resolves diatonically to the third degree of the scale in a
contemplative gesture, possibly implying the visually inconclusive nature of the horizon.
Achieving even and steady sixteenth notes throughout is the main challenge.
[CR: Steady Beat Throughout]
Leite, Clarisse. Na Casaca do Vovô (On Grandpa’s Coat, 1973). Ricordi

Brasileira, São Paulo, 1973. Lower intermediate, 1:10.
Style: children’s song
Markings: ( = 120)
Meter:
Key: C major
Form: rondo - ABACA
Pedal: damper pedal indicated in sections B and C
Largest span: harmonic octave
This happy piece, true program music, depicts an incident when the
grandchildren, who were playing, noticed a cockroach crawling on grandpa’s coat. These
short sentences, written between the staves, tell the story: brincam de amarelinha
9
(children play hop-scotch); fazem algazarra alegre (making happy sounds); vovô rabuja
(grumpy grandpa); vi uma baratinha na casaca do vovô, assim qu’ela me viu abriu asa e
lá voou! (I saw a cockroach on grandpa’s coat. When it saw me, it opened its wings and
flew away); vovô distraído (grandpa is absentminded); e ela volta (the cockroach
returns); sobe (climbs); vovô zangado toca-a inutilmente (angry grandpa touches it); a
baratinha fica assustada e foge n’um vôo suave (the cockroach gets scared and quietly
flies away).
The A sections feature two slurred sixteenth notes in the right hand alternating
with an eighth note in the left hand. The melodic texture of sections B and C contrasts
with the alternating figuration of section A. In section B, the left hand plays a staccato
accompaniment against the right hand’s legato melody. Section C presents chromatic
movement in both melody and accompaniment, and a modulation to E-flat major. Its
texture is legato melody with a broken chord accompaniment. The melodies in sections
B and C have the simplicity of children’s songs. The piece ends with two and a half
octave ascending glissando in the right hand depicting the cockroach flying away.
Three challenges need to be met: not rushing or accenting the right hand sixteenth
notes in the alternating hand passages; playing different articulations in each hand in
section B; and targeting and coordinating the C octave in the left hand with the last note
of the closing ascending glissando.
[CR: Melody and Accompaniment]
10
Widmer, Ernst. “Ping Pong,” No.147 from Ludus Brasiliensis, Vol. 4. Ricordi
Brasileira, São Paulo, 1966. Intermediate, 0:45.
Style: toccata
Markings: livre (free); = 120; livre
Meter:
Key: A minor
Form: introduction AA' codetta
Harmonic Language: tertian
Largest span: melodic octave
Widmer uses repeated notes, staccato articulation, and unpedalled arpeggiated
chords to depict a ping pong game. In the introduction and codetta, a repeated G sharp
starts slowly and forte and ends rapidly and piano, depicting the deceleration of a
bouncing ping pong ball. In mm. 5, 6, 17, and 18, harmonic thirds alternate in a dotted
rhythm between the hands. In mm. 7 and 19, six As bounce explosively in different
octaves, imitating the ricocheting of the ball. In section B arpeggiated eighth-note dyads
and chords alternate between the hands. The direction of the arpeggiation changes with
each chord. Dynamics range from pianissimo to fortissimo.
Wrist control and firm fingers are required to successfully play the repeated G
sharps. Coordinating the quick alternating arpeggiation in section B also poses a
challenge.
[CR: Articulation]
11
Morozowicz, Henrique de Curitiba. “Borboletas Psicodélicas,” No.3 from
Pour Martina (Psychedelic Butterflies, No.3 from For Martina, 1972). Musikverlag
Hans Gerig, Cologne, 1978. Upper intermediate, 0:50.
Style: toccata
Markings: Agitato; rapidíssimo
Meter:
Key: centers around A flat
Form: through composed
Harmonic Language: chromatic; pentatonic scales
Largest span: harmonic minor seventh
The hands alternate throughout this piece. The flight patterns of psychedelic
butterflies are depicted by pairs of sixteenth notes alternating between the hands. Several
phrases end suspended with a fermata. The first two phrases close with a trill, depicting
the wings of a butterfly hovering in the air. The performer has the freedom to repeat
passages marked ad libitum and extend the range of the closing ascending scale passage.
A trill of alternating harmonic thirds is presented in m. 17. The piece ends with an A-flat
seventh chord marked secco. The only dynamic instructions are sonoro (sonorous) in m.
1 and p in m. 7. The ascending and descending figuration suggests crescendos and
decrescendos, but the performer should always bear in mind the thin texture and the
butterfly image.
The performer must execute even and steady sixteenth notes throughout.
Employing hand rotation will help achieve evenness and speed. Besides alternation
12
between hands, the constant crossing of the hands poses another challenge. Flexible
wrists are required to play the trill in alternating thirds in m. 17.
Morozowicz, Henrique de Curitiba. “Tocatinha,” No.1 from Suíte Acessível

(Toccatina, No.1 from Accessible Suite). Irmãos Vitale, São Paulo, 1978. Upper
intermediate, 1:50.
Style: toccata
Markings: movido (moving); lento
Meter:
Key: A minor
Form: ABA coda
Harmonic Language: tertian with much chromaticism
Largest span: harmonic major seventh
Section A’s eighth-note alternating hands figuration consists of triads in the right
hand and single notes in the left hand. The right hand, which plays on the beat, only
strikes white notes and the left hand only plays black notes. The patterns always
descend. Section A ends with a fermata on a polychord built from the opening chord
complex. Section B, marked lento, presents a predominantly conjunct syncopated
melody with a broken chord accompaniment, providing textural contrast to section A.
For the repetition of the lento section the melody may be played an octave higher. The
coda, reversing the alternation pattern of section A, begins with the left hand playing a
pentatonic scale on black notes and the right hand playing a sequence of conjunct seventh
chords, minus the third, all on the white keys.
13
The main challenge is playing the alternating hands figuration steadily, quickly,
and with an even sound. In section B, the extended broken chord accompaniment
requires wrist lateral flexibility.
[CR: Extension; Steady Beat; Syncopation]
Additional annotated literature addressing alternating hands:
Anacleto. Carmela. Pingos Verdes (Green Drops). Irmãos Vitale, São Paulo,
1979. Upper Intermediate, 2:20. See Contemporary Techniques.
Fagnani, Orlando. Mini Prelúdio No. 1 (Short Prelude No.1, 1969). Irmãos
Vitale, São Paulo, 1970. Intermediate, 0:55. See Extension.
Oliveira, Rochildes Bernardes de. “O Canto do Galo Ocidental,” No.6 from

Coleção Infantil (The Song of the Western Hen, No.6 from Children’s Collection).
Irmãos Vitale, São Paulo, 1976. Upper intermediate, 1:00. See Syncopation.
Schmidt, Yves Rudnes. Batuque (see glossary, 1952). Irmãos Vitale, São
Paulo, 1977. Intermediate, 1:50. See Syncopation.
14
CHAPTER 4
ARTICULATION
Morozowicz, Henrique de Curitiba. “O Picapau Amarelo,” No.1 from Pour

Martina (The Yellow Woodpecker, No.1 from For Martina, 1972). Musikverlag Hans
Gerig, Cologne, 1978. Lower intermediate, 0:40.
Style: mildly contemporary character piece
Markings: Piccante (piquant)
Meter:
Key: G minor
Form: AA Coda
Harmonic Language: tertian, with much chromaticism
Largest span: melodic fifth
The woodpecker is wittily depicted by staccato articulation and agitated tremolo-
like sixteenth notes. Section A consists of four phrases, each four measures in length. In
each new phrase the melody and accompaniment shift between hands. Some large skips
occur between shifts. The right hand presents a disjunct melody while the left hand
melody presents primarily ascending and descending five-note scale fragments. The
melody’s articulations include two-note and three-note slurs, accents, and staccato notes.
In contrast to the rest of the piece, the coda has no accompaniment.
15
Playing staccato, legato and accented notes in one hand while maintaining a
steady sixteenth-note accompaniment in the other hand is the greatest challenge. Shifting
positions quickly and smoothly is a second challenge.
[CR: Steady Beat]
Brandão, José Vieira. “Valsinha,” No.2 from Suite Mirim (Little Waltz, No.2
from Children’s Suite, 1957). Irmãos Vitale, São Paulo, 1958. Intermediate, 1:30.
Style: waltz
Markings: Un poco rubato ( = 120); Più mosso
Meter:
Key: A minor, ending in A major
Form: Introduction ABA'
Pedal: una corda, tre corda, and four damper pedal indications
Largest span: harmonic octave, melodic tenth
The predominantly conjunct melody is played by the right hand. The left hand
provides either a bass-chord-chord accompaniment or a countermelody. The melody in
the first phrase of section A is characterized by a descending scale covering a two-octave
range. An ascending arpeggio occurs in the left hand at the end of each phrase. In
section B, marked una corda and più mosso, the right hand’s conjunct melody is played
staccato, offering contrast to the previous legato material. The quiet dynamics and
medium to high register placement of this piece produce a gentle, graceful character. A
major triad with an added lowered sixth ends the piece.
16
In section B, playing one hand staccato while playing the other legato is the
greatest challenge. Finger independence is required when playing two-voice passages in
the left hand.
[CR: Finger Independence]
Lacerda, Osvaldo. Galopando (Trotting, 1972). Ricordi Brasileira, São Paulo,

1972. Intermediate, 1:00.
Style: northeastern Brazilian modal dance
Markings: Vivo, mas não rápido demais (Lively, but not too fast)( = 120 )
Meter:
Key: D mixolydian
Form: A transition A' codetta
Harmonic Language: modal, tertian
Largest span: melodic minor seventh
In section A the left hand’s ostinato pattern, which imitates a trotting horse,
consists of a staccato broken D dominant seventh chord in the following rhythm:
. The right hand melody features staccato, legato, and tenuto articulation, and
spans just over two octaves. A four-measure melody is given to the left hand in the
transition to A'. In the codetta the bass ostinato pattern is presented in augmented note
values as it fades away. The dynamics are forte, mezzo forte, and piano, the latter found
only in the last two measures.
17
Playing staccato, legato, and tenuto in the right hand while keeping a steady beat
and consistent staccato in the left hand is the main challenge. Because of the relatively
fast tempo, negotiating some skips in the right hand’s melody is another challenge.
[CR: Steady Beat]
Nobre, Marlos. “Gavião,” No. 4 from Primeiro Ciclo Nordestino (Hawk, No.4
from the First Northeast Cycle, 1960). Irmãos Vitale, São Paulo, 1966. Intermediate,
0:35.
Style: two-part imitation
Markings: Jocosamente (Playful) ( = 100)
Meter:
Key: E major
Form: ABA'
Harmonic Language: traditional and modal
Pedal: one damper pedal indication
Largest span: melodic fourth
Both hands play predominantly conjunct sixteenth-note lines notated in the treble
clef throughout. Sections A and A' present the parts mostly in contrary motion, section B
mostly in parallel motion. Articulation is presented in various patterns. For the most
part, staccato and legato notes occur at the same time in both hands, but accented notes
do not occur simultaneously in sections A and A'. Nobre uses a northeastern Brazilian
folk tune in section A. The left hand imitates the right hand in canon delayed by one
beat. In section B, accents on the last sixteenth note of the beat result in syncopation.
This section is in E mixolydian and cadences on a tritone. In section A' the left hand
18
starts the canon. The voices join in a two-measure unison passage to end the piece.
Dynamics range from forte to pianissimo.
Three challenges are present: executing the syncopated accented notes; shaping
the melody independently between the hands; and playing the syncopation without
changing the tempo.
[CR: Syncopation]
Schmidt, Yves Rudner. “Passeio no Parque,” No.5 from Coletânea de Peças

Infantis (Promenade in the Park, No.5 from Collection of Children Pieces, 1967). Irmãos
Vitale, São Paulo, 1968. Intermediate, 0:55.
Style: neo-classical
Markings: Alegre (Happy) and Resoluto
Meter:
Key: C major
Form: ABA
Pedal: two damper pedal indications
Largest span: melodic major sixth
Both staves are notated in treble clef. In section A, a staccato melody is
accompanied by a bass-dyad-bass-dyad figuration. The right hand plays the melody and
the dyads while the left hand plays the bass notes. Section B features predominantly
portato two-voice homophonic writing, providing textural contrast with section A. Both
hands play in close proximity throughout. Chromatic grace notes and frequent use of F-
sharp as a non-harmonic tone add humor to this happy piece.
19
Playing a light staccato throughout is the main challenge. Because of the close
proximity of the hands, choreographing the hands in section B is another challenge.
Campos, Lina Pires de. “Estorietas,” No.5 (Little Stories, No.5, 1983). Ricordi
Brasileira, São Paulo, 1985. Upper Intermediate, 1:45.
Style: scherzo
Markings: Allegretto Scherzoso ( = 92-100)
Meter:
Key: F major
Form: ABB'A'
Harmonic Language: tertian, with much chromaticism
This innocent-sounding scherzo makes sophisticated use of articulation. Staccato,
two-note slur passages, legato, and accents are explored. The hands often play different
articulations simultaneously. Both staves are notated in treble clef. In section A, the
right hand presents the melody, sometimes in harmonic thirds, against off beat eighth
notes ornamented by grace notes in the left hand. Section B, marked grazioso, is in the
dominant. Section B’s diatonic writing contrasts with section A’s chromaticism. Section
B also abandons the offbeat accompaniment found in section A. Two ascending
chromatic scales played by the left hand are grouped in two-note slur patterns. Two
staccato ascending sequences of harmonic thirds are played by the right hand. Fermatas
and breath marks (commas) are sometimes used at ends of phrases and sections.
20
Fingering for the left hand’s chromatic scale, absent in mm. 11-12, is printed at its second
occurrence in mm. 53-54.
Playing different articulations simultaneously is the main challenge. The quick
and constant change between legato and staccato is another challenge. Careful study of
fingering for the two-note slur chromatic scales is required.
[CR: Scales]
Izzo, Italo. Valsa do Pica-pau (Waltz of the Woodpecker, 1960). Irmãos Vitale,
São Paulo, 1970. Upper intermediate, 2:40.
Style: waltz
Markings: Moderato; Tempo de Valsa Moderato
Meter: Introduction: ; sections A and B:
Key: B-flat major
Form: Introduction ABBA Coda
This light-hearted, happy waltz quotes the motive heard in “Woody the
Woodpecker” cartoons. The introduction foreshadows Woody’s motive in an augmented
form. Section A begins with three measures of a bass-note-note accompaniment in the
left hand. Woody’s motive, a legato ascending second inversion B-flat arpeggio
preceded by a pick up note E, is then played three times. Diatonic and chromatic
passages in the right hand, predominantly staccato, form the consequent phrase responses
to the legato motive. In section A the accompaniment pattern consists of a sustained bass
21
dotted quarter-note followed by two staccato eighth notes spanning up to a minor
seventh. Section B, in E flat major, uses hemiola in a manner reminiscent of Brahms.
The left hand plays only the bass line which moves lower than in section A. Unison trills
are featured in the introduction and coda. After the trill, a final statement of the main
motive closes the coda. No dynamics and pedaling are indicated.
The main challenge is preventing the staccato and legato articulations in the left
hand accompaniment from interfering with the shaping of the right hand melody. Three
other challenges must be met: playing the light staccato passages with an even sound;
keeping a steady left hand accompaniment in section A while shaping the bass line; and
balancing the melody and accompaniment in the right hand in section B.
Lacerda, Osvaldo. “Cana Verde” from Brasiliana No.5 (Green Sugar Cane).
From Bravo Brazil!, edited by David and Martha Appleby. Kjos West, California, 1983.
Upper Intermediate, 0:55.
Style: Brazilian children’s folk dance
Markings: Gracioso ( = 120)
Meter:
Key: F major
Form: ABA' codetta
Harmonic Language: diatonic melody most often accompanied by broken quartal chords
Pedal: no pedal
Largest span: melodic ninth
22
Cana Verde, Green Sugar Cane, is a name given to certain Brazilian folk dances,
usually performed in a circle. The markings mais alegre (happier) and um tanto triste (a
little sad) describe the moods of sections A and B, respectively. While the melody is
restricted to diatonic harmony the bouncy accompaniment, with its succession of tritones,
sounds as if it is in the wrong key, giving a humorous character to the piece. The melody
in sections A and A' (F major) presents syncopation, constant change between staccato
and legato, grace notes, and skips as large as a ninth. Contrast is provided in section B (F
minor) in which the melody is legato, its largest melodic interval is a fifth, and sequences
of conjunct two-note slurs occur. The codetta presents a descending chromatic scale in
the left hand as the piece fades out. Notes on the composer and piece are included.
Achieving the gracioso mood and keeping a light, even staccato in the left hand
accompaniment are the main challenges. In addition, different touches are required in
order to convey the contrasting moods of sections A and B.
[CR: Contemporary Techniques]
Additional annotated literature addressing articulation:

Hands, No.3 from Miniatures - V). Irmãos Vitale, São Paulo, 1981. Lower intermediate,
0:30. See Alternating Hands.
Campos, Lina Pires de. Estorietas I (Little Stories I, 1975). Ricordi Brasileira,
São Paulo, 1976. Intermediate, 1:00. See Steady Beat Throughout.
Campos, Nasari. “Bem Seresta,” No.2 from Miniaturas (Serenade, No.2 from
Miniatures). Irmãos Vitale, Rio de Janeiro, 1975. Intermediate, 1:25. See Finger
Independence.
Messina, Alfredo. Primeira Mazurca (First Mazurka). Irmãos Vitale, São

Paulo, 1973. Intermediate, 2:00. See Melody and Accompaniment.
23
Mignone, Francisco. O Leão que não era Leão (The Lion that was not a Lion).
Editora Arthur Napoleão, Rio de Janeiro, 1976. Intermediate, 2:20. See Syncopation.
Widmer, Ernst. “Ping Pong,” No.147 from Ludus Brasiliensis, Vol. 4. Ricordi
Brasileira, São Paulo, 1966. Intermediate, 0:45. See Alternating Hands.
Widmer, Ernst. “Rondó,” No.112 from Ludus Brasiliensis, Vol.3 (see glossary).
Ricordi Brasileira, São Paulo, 1966. Intermediate, 1:00. See Contemporary Techniques.
Nobre, Marlos. “Samba matuto” from Primeiro Ciclo Nordestino No.1 (Silly
Samba from the First Northeast Cycle, No.1). Irmãos Vitale, São Paulo, 1966.
Intermediate, 0:55. See Countrapuntal Playing.
Lacerda, Osvaldo. “Samba,” No.1 from Brasiliana No.7. Irmãos Vitale, São
Paulo, 1976. Upper intermediate, 1:00. See Left Hand Melody.
Lacerda, Osvaldo. “Sanfoneiro em Ré,” No.4 from Crosmos, 1º. Caderno

(Accordion Player in D, No.4 from Crosmos, First Book). Irmãos Vitale, São Paulo,
1971. Upper intermediate, 1:10. See Melody and Accompaniment.
Leite, Clarisse. Dança dos Esquilos (Dance of the Squirrels, 1971). Ricordi
Brasileira, São Paulo, 1971. Upper intermediate, 1:10. See Wrist/Chord Techniques.

Irmãos Vitale, São Paulo, 1976. Upper intermediate, 1:00. See Syncopation.
24
CHAPTER 5
CONTEMPORARY TECHNIQUES
Kiefer, Bruno. Em Poucas Notas…(With Few Notes…, 1974). Editora Nova

Metas, São Paulo, 1978. Intermediate, 1:00.
Style: twentieth-century, improvisatory
Markings: Com Vigor (Vigorously) ( = 69)
Meter:
Key: atonal
Form: Through composed
Harmonic language: atonal
Largest span: harmonic minor ninth
This intense piece could remind a student of the soundtrack of a suspense movie.
Two motives generate the music: a rapid descending arpeggiated triplet followed by a
sustained three-note chord; and syncopated descending parallel chords constructed with
harmonic major sevenths in the right hand and harmonic major sixths in the left hand.
Phrases based on these two motives alternate. Dynamics range from pianissimo to
fortissimo.
The non-traditional writing requires large position shifts, making moving about
the keyboard a challenge. Counting eighth notes throughout is necessary to produce an
25
accurate rhythm. Producing a convincing interpretive result in an unusual idiom is a
major musical challenge.
Widmer, Ernst. “Rondó,” No.112 from Ludus Brasiliensis, Vol.3 (Brazilian

Games). Ricordi Brasileira, São Paulo, 1966. Intermediate, 1:00.
Markings: ( = 120)
Meter:
Key: C major
Form: ABA'CA"
Harmonic Language: blend of traditional and chromatic
The rondo theme, first appearing as a solo line distributed between the hands,
features staccato, tenuto, and legato articulations. It is ornamented with rapid ascending
scale fragments in quintuplets. Section B, almost exclusively a solo line for the left hand,
presents two piano conjunct legato phrases, in contrast to the primarily staccato
articulation in sections A and A'. Section A' presents contrapuntal three-voiced variation
of the rondo theme. In section C, a disjunct melody in long note values shifts from the
left hand to the right hand, as does its accompaniment of repeated staccato harmonic
thirds, fourths, seconds, and sevenths. The final rondo statement is again varied, and is
characterized by samba rhythm, triplets, and quintuplets scale fragments. Dynamics
range from ppp to ff.
26
Playing the different rhythmic patterns accurately is a challenge. In addition,
playing varied articulations in different rhythms in section A'’s contrapuntal writing is
another challenge.
[CR: Articulation; Syncopation; Contrapuntal Playing]
Anacleto, Carmela. Pingos Verdes (Green Drops). Irmãos Vitale, São Paulo,
1979. Upper Intermediate, 2:20.
Style: twentieth-century, impressionistic
Markings: Introduction: Lento Misterioso (Slow Mysterious); Larghetto ( = 66)
Meter: shifts between , , and
Key: A is the tonic for much of the piece
Form: Introduction ABA'B' coda
Harmonic language: chromatic, with tonal implications
Pedal: damper pedal indications
Largest span: melodic major seventh
Fast scalar and arpeggio figurations sustained by the damper pedal result in
“impressionistic” sonorities. Throughout, repeated motives are often echoed at different
dynamic levels. Both staves are notated in treble clef. In the introduction and coda, a
rapid descending five-note scale fragment and a broken chord figuration embellish
sustained notes. In sections A and A', the left hand plays an eighth-note melodic minor
second ostinato accompaniment. Against this, the right hand’s primarily conjunct
melody moves mostly in quarter notes. Sections B and B' present thirty-second-note
arppegiations alternating between the hands. Dynamics markings are very specific,
27
ranging from ppp to f with many subito changes. In m. 16, the fourth eighth note in the
left hand should be corrected to read D-flat.
The greatest challenge is avoiding false accents when playing the third-second-
note arppegiations alternating between the hands. Dexterity in five-finger patterns is
required for the fast descending scale fragment and broken chord figuration. Broken
chords alternating between the hands require quick position shifts in sections B and B'.
[CR: Alternating Hands]
Blauth, Brenno. “I,” from Duas Peças Breves (I, from Two Short Pieces).
Ricordi Brasileira, São Paulo, 1969. Upper intermediate, 1:55.
Style: twentieth-century atonal
Markings: ( = ± 72)
Meter: changing meters: ; ; ; ; ; ; ;
Key: atonal
Form: through-composed
Harmonic language: atonal, use of clusters
In this piece, no tonality is established, no exactly recurring theme is stated, and
the piano’s timbral possibilities are explored. Three distinct compositional elements are
used: lyrical melodic lines; clusters; and ascending and descending sound pyramids
created by using the damper pedal. In the latter instances, the composer writes “deixa
soar” (let it ring) in an added measure. These materials are often presented using the
sound pyramids as the closing gesture to short sections. The lyrical legato lines include
28
disjunct and chromatic motion. Chromatic clusters of three to ten different pitches are
played at different dynamic levels. Changing meters, syncopation, quintuplets, triplets,
offbeats, and long notes produce a sophisticated, complex rhythmic structure. Sudden
extreme dynamic changes occur often from note to note and chord to chord. The notation
employs double sharp and double flat signs. No fingering is provided.
The non-traditional writing requires large position shifts, making moving about
the keyboard a challenge. Counting eighth notes throughout is necessary to produce an
accurate rhythm. Producing a convincing result in an unusual idiom is a major musical
challenge.
[CR: Syncopation; Improvisatory]
Nobre, Marlos. Capoeira (1966). Irmãos Vitale, São Paulo, 1971. Upper
Intermediate, 1:00.
Style: dance - capoeira
Markings: poco animato
Meter:
Key: alternates between C major and F major
Form: introduction ABA'B' codetta
Harmonic language: left hand: clusters; right hand: two-part chromatic counterpoint
Pedal: no pedal
The capoeira (see glossary), a fight brought to Brazil by Africans, evolved into a
choreographic game. Its syncopated rhythm, often played on the berimbau, reco-reco and
pandeiro (see glossary), is the essence of this dance. Nobre uses the left hand wrist and
29
fist to produce percussion-like effects. They alternate playing clusters on white and black
keys in the following ostinato rhythm pattern: . In the four-
measure introduction, the right hand plays a rhythm on the wooden parts of the piano
with a closed fist. These nontraditional touches enhance the rhythmic drive of Nobre’s
Capoeira.
The melody is also syncopated. Eight bar periods alternate between C major and
F major, marked respectively: mp; pp dolce; f rude; mp dolce. A lower voice in longer
note values, also played by the right hand, adds chromatic contrapuntal interest. A
perfect fifth is sustained by the right hand in the last five bars while the left hand clusters
fade out to ppp, creating quiet overtones.
Two main challenges are proposed in this piece. First is the acquaintance to the
use of wrist and fist. Second is the synchronization between melody, countermelody and
accompaniment which plays different syncopation.
[CR: Syncopation]
Additional annotated literature addressing contemporary techniques:
From Bravo Brazil!, edited by David and Martha Appleby. Kjos West, California, 1983.
Upper Intermediate, 0:55. See Articulation.
Lacerda, Osvaldo. “Metrônomo Dodecafônico,”No.17 from Crosmos, 5º

Caderno (Dodecaphonic Metronome from Crosmos, 5th Book). Ricordi Brasileira, São
Paulo, 1988. Upper intermediate, 1:55. See Steady Beat Throughout.
Schmidt, Yves Rudner. “Melancolia,” No.4 from Expressões (Melancholy,

No.4 from Expressions). Irmãos Vitale, São Paulo, 1970. Upper intermediate, 1:15. See
Extensions.
30
CHAPTER 6
CONTRAPUNTAL PLAYING
Alimonda, Heitor. “Quase Alegre,” No.6 from Dez Peças Fáceis para Piano
(Almost Happy, No.6 from Ten Easy Pieces for Piano). Irmãos Vitale, São Paulo, 1959.
Lower Intermediate, 1:00.
Style: classical
Markings: Um pouco depressa (A little fast) ( = 69)
Meter:
Key: C major
Form: introduction ABA'B'
Largest span: melodic minor seventh
This piece is written in two voices. The short-short-long motive presented in the
introduction is used throughout in imitation, sequence, and as an accompanying figure.
The right hand’s predominantly conjunct melody is accompanied by the left hand in
parallel, contrary, and oblique motion. In section A, the left hand’s eighth-note figuration
contrasts with the melody’s longer note values. Articulation is predominantly legato, but
two and three-note slurs and staccato notes do occur. Sudden dynamic changes happen
five times. Dynamics range from piano to forte. In m. 30, the fifth note in the left hand
should be a D, not an E.
31
Phrasing the left hand without affecting the right hand’s legato passages is the
main challenge. Executing the sudden dynamic changes is a secondary challenge.
[CR: Melody and Accompaniment, Articulation]
Mechetti, Fábio. “Acalanto,” No.1 from Suite para piano (Lullaby, No.1 from
Suite for piano, 1977). Editora Novas Metas Ltda, São Paulo, 1980. Lower intermediate,
0:55.
Style: imitative, neo-baroque
Markings: Monótono (Monotonous)
Meter:
Key: A natural minor
Form: ABA'
Harmonic Language: pandiatonicism
Both staves are notated in treble clef in this imitative contrapuntal piece. Two
predominantly conjunct voices are presented pianissimo throughout. The second voice
starts one measure after the first. After opening in strict canon, the piece shifts to free
imitation. The voices primarily run in contrary motion with a 2:1 and 1:1 counterpoint
ratio. This pandiatonic music uses A natural minor scale material, but the voice leading
does not always outline traditional functional harmony. No fingering is provided.
Projecting an independent phrase shape in each voice is the greatest challenge.
[CR: Independence between Hands]
32
Guarnieri, M. Camargo. “Brincando,” No.1 from Curumins (Playing, No.1
from Curumins, 1960). Irmãos Vitale, São Paulo, 1977. Lower intermediate, 1:00.
Style: classical
Markings: Sem pressa (no rush) ( = 120)
Meter:
Key: C major
Form: ABA
A Curumin is a little Brazilian Indian boy who spends most of his time playing
chase, and hide-and-seek with the forest animals.
In this gentle character piece, written in classical style, both staves are notated in
the treble clef. In section A the conjunct legato melody encompasses an interval of a
sixth. The left hand’s legato eighth-note accompaniment provides parallel and contrary
motion counterpoint to the right hand’s melody. Section B, in the dominant, presents the
same texture as section A. The melody in section B, spanning a major seventh, uses the
G major scale fingering. The left hand is required to pass over the thumb twice. The
right hand must execute one thumb passage in each direction. The dynamic level ranges
from pianissimo to mezzo forte.
Careful study of the fingering provided for the continuous left hand
accompaniment is necessary to achieve even, smooth playing. Observing the carefully
marked phrasing in the right hand is another challenge.
33
Intermediate, 0:55.
Style: samba
Markings: resoluto ( = 116)
Meter:
Key: D minor
Form: canon with a coda
Pedal: una corda, damper pedal only with the last note
Largest span: melodic perfect forth
“Samba matuto” (Silly Samba) consists of two contrasting periods and a five-
measure coda. The first four phrases are in two-part canon. In the opening phrase, the
simple folk melody uses only the first five notes of the D-minor scale. The left hand
repeats the melody with the same articulation and dynamic nuances one measure after the
right hand. Primarily contrary and oblique motion form the counterpoint. In the second
period, the melodic range expands to an octave. The articulation constantly changes from
staccato to non-legato. Dynamics often change from forte to piano. This syncopation
occurs ten times: . The unison writing that opens the coda offers a contrast to
the previous canonic material.
Because of the canonic writing, achieving independence of the hands in
articulation, dynamics, and rhythm is required. Playing different dynamics
simultaneously in mm. 3, 5, 7, 13, and 15 poses the greatest challenge.
[CR: Articulation; Syncopation]
34
Brandão, José Vieira. Valsa dos Sapatinhos Vermelhos (Waltz of the Little
Red Shoes, 1950). Irmãos Vitale, São Paulo, 1982. Upper intermediate, 2:15.
Style: waltz
Markings: ( = 120)
Meter:
Key: C major
Form: AA'AA'' coda
The harmony and figuration of this waltz recall Clementi’s sonatinas and classical
style minuets. In this lively, playful waltz, both staves are notated predominantly in
treble clef. Long conjunct eighth-note lines are played by both hands in counterpoint in
parallel and contrary motion. Imitation and sequence develop the primary musical ideas.
Occasionally, triplets and hemiola add rhythmic interest. The retransition and the coda
feature passages of single notes alternating between the hands. The four measures before
the coda present an extended eighth-note passage in parallel sixths, one voice assigned to
each hand. An unexpected pedaled A-flat major arpeggio lengthened by a fermata
announces the coda, which contains a glissando in the right hand.
Careful study of the fingering provided for long conjunct eighth-note passages is
necessary to achieve even and smooth playing. The alternating hand passages test the
player’s coordination. In addition, the rhythmic displacement caused by the hemiola
poses a challenge.
35
Martins, Wanderley Carlos. “Chorinho,” from Suite No.2, Op.5 (see glossary,
1983). Irmãos Vitale, São Paulo, 1984. Upper intermediate, 1:40.
Style: chorinho, neo-baroque
Markings: Moderato ( = 100)
Meter: , with one measure
Key: tonal ambiguity between A minor and D minor;
Form: ABA'
Harmonic Language: section A: traditional; section B: chromatic with “wrong notes”
Largest span: melodic minor ninth
This piece received first place in the 1983 “Bach Trophy Composition Contest”
sponsored by the Music, Biology and Physics Research Center of São Paulo.
This contrapuntal piece presents two independent voices. The figuration,
involving some sequential patterns, is reminiscent of a Bach invention but the harmonic
implications are not. In section A the upper voice functions as melody and the lower as
countermelody. This melody outlines traditional harmonic progressions. Its melodic
curve spans a thirteenth, and swirls up and down continuously. The lower voice provides
contrapuntal interest in the form of imitative fragments using the rhythm of the opening
melodic gesture. Sequential writing and imitation of the right hand’s motives are also
featured in the left hand. In section B, the melody shifts to the left hand for four
measures. Section B’s quick modulations to unrelated keys and unconventional
contrapuntal writing (parallel perfect fifths and ninths) offer contrast to the harmonically
traditional sections A and A'. The ending presents an unexpected modulation from A
minor to D minor. The piece ends with a D minor seventh chord with added A flat and B
36
flat. The nontraditional harmonic structure produces an ambiguous sense of key center.
Phrasing and dynamics are clearly marked. No fingering is given.
The main challenge is shaping each voice independently. Carefully chosen
fingering is required to execute this piece effortlessly.
Additional annotated literature addressing contrapuntal playing:
Lima, Souza. “Quebra-cabeça,” from Duas Miniaturas (Riddle, from Two

Miniatures). Musikverlag Hans Gerig, Cologne, 1978. Lower intermediate, 0:25. See
Finger Independence.

Games). Ricordi Brasileira, São Paulo, 1966. Intermediate, 1:00. See Contemporary
Techniques.
37
CHAPTER 7
EXTENSIONS
Santoro, Claudio. Peças Infantis, No.5 (Children’s pieces, No.5, 1951). Ricordi
Brasileira, São Paulo, 1954. Lower intermediate, 0:45.
Style: Brazilian children’s song
Markings: Andante
Meter: section A and A': ; section B:
Key: C major
Form: ABA'
Harmonic language: traditional
Section A’s melody has the character of a children’s song. It is accompanied by a
series of conjunct legato harmonic thirds in the left hand. A four-measure transition leads
to the change to meter in section B. A slow waltz begins in which the left hand’s
disjunct melody presents broken chord figuration encompassing up to a minor ninth. The
right hand accompaniment is exclusively broken C octaves. Depending on the
performer’s interpretation of the slurs in the melody in section B, some hemiola effects
could be produced. No dynamics are indicated but the character and texture suggest a
piano to mezzo forte dynamic range.
38
Three challenges are present: reaching the extended left hand melody in section
B, which requires lateral wrist movement; playing the ostinato broken octave passage
steadily and without accents; and playing smooth conjunct harmonic thirds in the left
hand in section A.
[CR: Steady Beat]
Fagnani, Orlando. Mini Prelúdio, No. 1 (Short Prelude No.1, 1969). Irmãos
Vitale, São Paulo, 1970. Intermediate, 0:55.
Style: jazz / popular
Markings: Andantino comodo; Presto
Meter:
Key: F major
Form: AA'
Harmonic Language: tertian, much chromaticism
Largest span: broken chord consisting of ascending fifth followed by ascending sixth
The chromatic harmony and leisurely tempo give this prelude a sound similar to a
jazz ballad. Broken chords, gradually expanding to encompass a major tenth, form the
accompaniment. The bass line often moves chromatically. In section A the primarily
disjunct melody is embellished with two arpeggios, each requiring one passage of the
thumb. Section A' presents only the opening phrase followed by an arpeggiated cadenza
distributed between the hands. The cadenza leads to the final cadence and is followed by
a fermata on the barline preceding the cadence. The final cadence, marked presto, closes
with an arpeggiated chord marked seco.
39
The greatest challenge is developing lateral wrist flexibility in order to play the
extended intervals in the left hand. The melody’s arpeggio in m. 10 presents another
challenge. In order to achieve smoothness here, students with smaller hands will need to
use the thumb on a black key.
[CR: Alternating Hands]
Leite, Clarisse. Domingo no Engenho (Sunday at the Mill, 1973). Ricordi

Brasileira, São Paulo, 1973. Intermediate, 1:40.
Style: southeastern Brazilian dance
Markings: = 126 (section A); = 66 (section C); vivo (coda)
Meter:
Key: C Mixolydian
Form: ABCA’ coda
Pedal: damper pedal indicated throughout
Largest span: harmonic octave; descending broken chord in the left hand consisting of a
fourth followed by a major sixth
A poem appears on the cover of the score. The author’s translation follows:
SUNDAY AT THE MILL
On stage
The father, the chief of police, the Mill’s owner
In the backyard, fellowship.
Wild colors blend together
in the crazy fandango rhythm
Close to a creek, a soul
looks for the peace he lost,
in the reddish curves
of the beautiful woman slave.
In the creek, sadness
40
In the backyard, happiness
of the wild foot-stamping dance.
This modal foot-stamping dance presents extreme changes of mood and tempo.
The moods are clearly described by the composer’s markings: provocante (provocative);
vibrante (vibrant); petulante (daring); melancólico; penetrante (piercing); and alegre
(happy). Section A presents a sixteen-measure sequential rhythmic ostinato beginning on
the second eighth note of each measure: . Its texture is composed of
second inversion chords in the right hand and descending broken chord figurations in the
left. The melodies in sections B and C are predominantly in harmonic thirds. In section
B the accompaniment consists mostly of harmonic perfect fifths played in this rhythm:
. In section C the melody, marked melancólico, is accompanied by syncopated
chords. Articulation and dynamics are clearly marked.
Five challenges are presented: lateral wrist flexibility needed to perform broken
chords spanning a ninth; legato harmonic thirds; keeping a loose wrist for repeated
consecutive harmonic thirds; coordinating rhythmic pedaling and syncopated rhythm; and
quickly changing moods.
[CR: Syncopation]
Santoro, Claudio. Paulistana, No.1 (From São Paulo, No.1, 1953). CEMBRA,
São Paulo, 1955. Intermediate, 1:45.
Style: neo-romantic
Markings: Lento (cantabile)
Meter:
Key: D-flat major
Form: ABAB
41
Harmonic language: triadic with extensions
Largest span: melodic major tenth and harmonic octave
The introduction’s syncopated rhythmic ostinato in the left hand, ,
continues throughout in a broken seventh chord figuration. Syncopation is also found in
the primarily conjunct melody. In section A a melody in three phrases unfolds,
expanding from two, to three, and finally to six measures in length. Section B functions
as a coda in which the melody centers around D-flat. The harmonic language involves
simple progressions with added ninths. Dynamics range from piano to mezzo forte.
Two main challenges are present: playing the left hand’s extended broken chord
figuration, which requires lateral wrist flexibility; and coordinating syncopated patterns
between the hands.
[CR: Syncopation; Melody and Accompaniment]
Côrtes, E. Villani. “Prelúdio,” No.1 from Série Brasileira (Brazilian Series,

1958). Irmãos Vitale, São Paulo, 1978. Upper intermediate, 1:30.
Style: neo-romantic
Markings: Moderato; cantabile
Meter:
Key: G minor
Form: Introduction AA' coda
Harmonic Language: traditional with chromaticism
42
Largest span: melodic minor tenth and harmonic octave with two inner notes
This prelude blends chromatic harmonic progressions with syncopated rhythms.
The left hand descending broken chord accompaniment has this rhythmic pattern
throughout: . The accompaniment’s chromatic movement gives direction to
sections with sustained melody notes. The conjunct, single line syncopated melody in
section A is presented in octaves and chords in section A' at a louder dynamic level. In
the coda, the accompaniment pattern shifts to the right hand with the syncopated rhythm
placed in the left hand. Dynamics range from piano to fortissimo. Pedaling is required in
order to achieve legato playing.
The large skips in the left hand are the greatest challenge. Synchronizing the
syncopated melody with the rhythmic ostinato accompaniment is a secondary challenge.
[CR: Syncopation]
Schmidt, Yves Rudner. “Melancolia,” No.4 from Expressões (Melancholy,

No.4 from Expressions). Irmãos Vitale, São Paulo, 1970. Upper intermediate, 1:15.
Style: twentieth century, lyrical
Markings: Lento (melancólico), pouco rubato
Meter:
Key: Section A: atonal; section B: B-flat major ending in G minor
Form: AB coda
Harmonic language: tertian much chromaticism
Largest span: melodic ninth
43
A chromatic harmonic vocabulary, slow tempo, and frequent long chords at the
end of phrases contribute to the melancholy mood of this piece. Section A employs
unconventional progressions and frequent use of appoggiaturas, resolved and unresolved.
In section B, marked più mosso, the presence of less chromatic harmony provides
contrast. The accompaniment figuration used throughout the piece consists of ascending
eighth-note broken chords which encompass spans up to a minor thirteenth. Half-note
chords at the end of phrases slow the music’s flow eleven times. The coda presents a
melody and accompaniment texture played in a higher register. An arpeggiated
augmented chord closes the piece. Although no damper pedal markings are indicated, the
figuration and mood of the piece require its use in every measure. The left hand crosses
over the right hand four times. Dynamics are predominantly piano and pianissimo.
Lateral wrist flexibility is required to smoothly perform the left hand’s ascending
broken chord accompaniment. Pianists who can span tenths will have an advantage in
this piece.
[CR: Contemporary Techniques]
Additional annotated literature addressing extensions:
Blauth, Breno. “Festa de Nossa Senhora do Roció,” No.2 from Suite

Parnanguara (Feast of Our Lady of Roció, No.2 from Parnanguara Suite). Irmãos
Vitale, São Paulo, 1969. Upper intermediate, 2:20. See Melody and Accompaniment.
Izzo, Italo. Cirandando (Circle Dance, 1971). Irmãos Vitale, São Paulo, 1972.
Upper intermediate, 2:00. See Wrist/Chord Techniques.

intermediate, 1:50. See Alternating Hands.
44
CHAPTER 8
FINGER INDEPENDENCE

Miniatures). Musikverlag Hans Gerig, Cologne, 1978. Lower intermediate, 0:25.
Style: perpetual motion
Markings: Cômodo (calmly)
Meter:
Key: C major
Form: ABA'
Largest span: melodic fourth
The composer writes “without thumbs” at the beginning, bringing to mind early
baroque keyboard performance practice. The writing is sixteenth note against sixteenth
note throughout. The four-note patterns, identical with those found in Czerny and Hanon,
always ascend in the right hand and descend in the left hand. Forty percent of the
patterns are mirrored between hands. Consisting of four sixteenth notes, the intervallic
patterns are either conjunct, broken thirds, or combinations of melodic seconds, thirds,
and fourths. Contrary and oblique contrapuntal motion are employed. Both staves are
notated in treble clef. Dynamics start piano, rise to forte and diminish to piano again. A
mezzo-forte harmonic third closes the piece.
45
When played one hand at a time the figuration patterns are quite simple. The
biggest challenge is playing the different patterns simultaneously. One challenge is
switching patterns between hands in mm. 1, 2, 6, 7, 11, and 12. Another challenge is
playing even sixteenth notes throughout.
[CR: Contrapuntal Playing; Steady Beat Throughout]
Miniatures). Irmãos Vitale, Rio de Janeiro, 1975. Intermediate, 1:25.
Style: waltz, valsa de esquina (see glossary)
Markings: Calmo (Saudoso) (Calm, nostalgic)
Meter:
Key: D minor
Form: AA'AA'
Largest span: melodic minor seventh, harmonic octave
In this nostalgic waltz, in which both staves are notated in treble clef, a four-voice
texture predominates. The melody is built on broken chord patterns. At the end of all
two-measure phrases, the left hand’s lower voice plays conjunct portato eighth notes
which lead to the next phrase. The inner voices play long note values while the outer
voices move. Section A'’s last phrase offers a contrasting melody and bass-chord-chord
accompaniment texture, two inverted mordents, and is the only four-measure phrase in
the piece. Articulations include staccato, legato and two-note slurs.
46
Holding the sustained inner voice notes while playing the outer moving voices is
the greatest challenge.
[CR: Articulation]
Godinho, Belmácio Pousa. Humoresque. Irmãos Vitale, São Paulo, 1971.

Intermediate, 1:50.
Style: gigue
Markings: Allegro
Meter:
Key: G major
Form: ABA'BAB Coda
Largest span: melodic minor ninth, harmonic octave
This humoresque contains strongly marked rhythms, symmetrical phrases, and
sequences, all characteristics of the gigue. In section A the right hand simultaneously
plays a melody and a chordal accompaniment. Harmonic perfect fifths in sequential and
conjunct motion comprise the left hand’s accompaniment. Section B, in G minor, has
accents on the first and fourth eighth notes of each measure in both hands, adding to the
gigue-like character. The melody presents descending five-note G-minor scale fragments
accompanied by predominantly descending disjunct intervals. The coda juxtaposes
material from both sections in four affirmative phrases emphatically separated by
fermatas. Dynamics range from piano to forte, often employing echo effects. No
fingering is provided.
47
The greatest challenge, found in section A, is bringing out the right hand melody
while simultaneously playing the accompaniment. To meet this challenge, fingering
must be carefully chosen. In section B, negotiating quickly shifting positions in the left
hand accompaniment is another challenge.
[CR: Steady Beat Throughout]
Schmidt, Y Rudner. “Caixinha de Surpresas – Valsa,” No.6 from Coletânea de

Peças Infantis (Surprise Box - Waltz, No.6 from Collection of Children Pieces, 1970).
Irmãos Vitale, São Paulo, 1971. Intermediate, 0:50.
Style: waltz, twentieth-century
Markings: Alegre (Happy)
Meter:
Key: C minor
Form: AA'
Largest span: right hand: melodic minor ninth; left hand: harmonic octave
This waltz contains harmonic and melodic surprises, living up to its title. The
opening chord, combining C minor and F-sharp diminished triads, is the first surprise. It
is presented as a two-measure waltz accompaniment in which the chords on beat two and
three are distributed between the hands. The melody enters in m. 3, played by the right
hand which also plays the upper note or notes of the accompanying chords. The second
phrase ends with an unpredicted deceptive cadence. The melodic flow is now interrupted
by the two-measure introduction, transposed a whole step higher, followed by section A',
48
also presented at this new pitch level. Both staves are notated in treble clef. The left
hand crosses over the right in the three-measure coda.
This waltz presents two main challenges: bringing out the melody while playing
the accompaniment in the same hand, and keeping a smooth sound connection when
playing two or more consecutive diatonic notes with the same finger in the melody.
Although no indications are given, the use of damper pedal could help achieve a legato
melody line. An alternate fingering for the right hand’s upper voice in m. 23-24 is 4, 3
and for the inner voice in m. 24-25 is 1,1, 4, 5.
Lacerda, Osvaldo. Toada, No. 6 (see glossary, 1972). Musikverlag Hans Gerig,
Cologne, 1978. Upper Intermediate, 1:30.
Style: toada
Markings: Amoroso
Meter:
Key: F major, although no key signature is notated
Form: ABA
Harmonic Language: traditional, with constant chromatic passing notes
Pedal: col Ped. – pedal at the performer’s discretion
This toada, a gentle lyrical piece, has a ballad swing to it. Its swing results from
the recurring motion of the shorter anacrusis to the longer first beat, propelling the
singable melody. The accompaniment is notated in a contrapuntal-like manner with one
of the voices always rhythmically independent from the melody. The resulting
apoggiaturas and anticipations, combined with the syncopation, add to the swing feeling.
49
The accompaniment also features sustained notes and pedal tones. These various
accompaniment characteristics create an independence challenge between voices within
one hand. Ledger lines occur frequently in the lower staff because both staves are often
notated in the treble clef. Markings as such as “amoroso” (with love), “triste” (sad),
“espressivo” and “dolce” show the introspective character of the “Toada.”
Achieving independence between voices played in the same hand is the main
challenge.
Additional annotated literature addressing finger independence:
Brandão, José Vieira. “Valsinha,” No.2 from Suite Mirim (Little Waltz, No.2
from Children’s Suite, 1957). Irmãos Vitale, São Paulo, 1958. Intermediate, 1:30. See
Articulation.
Campos, W. Nasari. “Prelúdio,” No.1 from Miniaturas (Prelude, No.1 from

Miniatures). Irmãos Vitale, São Paulo, 1975. Intermediate, 0:50. See Melody and
Accompaniment.
França, Lourdes. Valsa, No. 8 (Somente para a Mão Esquerda) (Waltz No.8, for
left hand alone, 1979). Irmãos Vitale, São Paulo, 1985. Intermediate, 3:20. See Left
Hand Melody.
Schmidt, Yves Rudner. Zóinho (Little Eye, 1953). Irmãos Vitale, São Paulo,
1977. Intermediate, 1:50. See Syncopation.
50
CHAPTER 9
IMPROVISATORY
Morozowicz, Henrique de Curitiba. “As margaridas em flor, ao vento,” No.2

from Pour Martina (Blooming Marguerites in the Wind, No.2 from For Martina, 1972).
Musikverlag Hans Gerig, Cologne, 1978. Intermediate, 1:10.
Style: improvisatory, impressionistic
Markings: Suave (soft); sonoríssimo (with much sound)
Meter:
Key: C sharp minor
Form: ABA' codetta
Largest span: harmonic fifth
Sections A and A' depict the marguerites swinging in the wind. In these sections
ascending and descending sixteenth-note figurations distributed between the hands
conclude with an arpeggiated chord in a higher register. The damper pedal must be used
to sustain the sixteenth-note figuration while shifting to the chord in the high register.
Section B presents two phrases of arpeggiated chords, reminiscent of Debussy’s writing.
The codetta presents material from section B. A pianissimo marking in the next to the
last measure is the only specific dynamic in the score. No fingering is provided.
51
Three challenges must be met: making a smooth sound connection between the
hands in the sixteenth-note figurations; achieving a resonant, unforced sonority; and
playing with a rubato that depicts the irregular motion of the “blooming marguerites in
the wind.”
Additional annotated literature addressing improvisation:
Ricordi Brasileira, São Paulo, 1969. Upper intermediate, 1:55. See Contemporary
Techniques.
52
CHAPTER 10
LEFT HAND MELODY
Lacerda, Moura. Acalanto (Lullaby). CEMBRA, São Paulo, 1963. Lower

intermediate, 1:00.
Style: lullaby
Markings: Cantabile
Meter:
Key: A minor
Form: ABA
Harmonic language: traditional
Largest span: harmonic minor sixth, melodic minor seventh
In this lullaby both staves are notated in the treble clef. Section A is a double
period with a predominantly conjunct melody in which appoggiaturas often occur. In
section B, the left hand presents the melody accompanied by a disjunct quarter-note
pattern in the right hand. The bass melody continues the lyrical ideas of section A in the
relative major. Passing over the thumb occurs only in the right hand melody. The
dynamics range from piano to mezzo piano. Big hand position shifts are not required.
The simple contour of the melody provides opportunity to develop expressivity and
projection of long phrases.
53
Shaping the left hand melody and projecting a long melodic line are the greatest
challenges.
França, Lourdes. Valsa No. 8 (Somente para a Mão Esquerda) (Waltz No.8, for
left hand alone, 1979). Irmãos Vitale, São Paulo, 1985. Intermediate, 3:20.
Style: waltz, lyrical
Markings: no tempo marking
Meter:
Key: G minor
Form: ABA
Pedal: damper pedal markings throughout
Largest span: harmonic octave; skips of a ninth, tenth and 3 octaves
In this piece the left hand presents a full melody and accompaniment texture. The
melancholy character could suggest the choice of a moderato tempo. In the second
measure of each phrase in section A, the standard chordal accompaniment on beats two
and three is dropped and sequences of harmonic sixths and fifths compose the figuration.
The accompaniment is placed either lower than the melody or between the melody and its
supporting bass note. In addition, the accompaniment’s lower voice never encompasses
more than a harmonic octave. In section B, the thumb is used four times in succession in
four conjunct melodic passages. A large descending skip closes each section. Pedaling,
dynamics, and fingering are marked in detail throughout. Due to a misprint, the fingering
should be reversed in m. 2, second eighth-note.
54
Playing sequences of harmonic sixths and fifths smoothly is the greatest
challenge. In addition, projecting the melody requires voicing skills.
[CR: Finger Independence; Melody and Accompaniment]
Mahle, Ernst. “Hoppla, hoppla, bum bum bum” from “Melodias da Cecília”
(Cecília’s Melodies). Bravo Brazil!, edited by David and Martha Appleby. Kjos West,
California, 1983. Intermediate, 0:55.
Style: cantiga de roda (children’s song)
Markings: none
Meter:
Key: F major
Form: variation
The melody consists of four descending sequences of a seven-note conjunct motif.
All four periods are variations of this sequence. The first two are almost identical. In the
third period, the melody shifts to the left hand accompanied by sequences of harmonic
thirds in the right hand. The fourth period is a repetition of the first with an added
contrapuntal tenor line placed in the left hand part. Augmented chords add color to the
traditional harmonic progressions. The melody is to be sung and danced in circles and
thus possesses an intrinsic, natural tempo which explains the lack of tempo indication.
55
The three main challenges are shaping the left hand melody, keeping the broken
chord accompaniment steady, and bringing out the left hand tenor countermelody in m.
26-28.
[CR: Steady Beat]
Paulo, 1976. Upper intermediate, 1:00.
Style: samba (see glossary)
Markings: Bem ritmado (very rhythmic) ( = 116)
Meter:
Key: F major
Form: ABA'
Harmonic Language: traditional, with chromaticism
Pedal: no pedal
This happy, rhythmic samba presents this syncopation throughout: . In
section A, the right hand’s syncopated melody includes staccato, legato, and two-note
slur articulations. It switches to the left hand for four measures. The sparse texture
features chordal and contrapuntal accompaniments. The left hand plays a similar
rhythmic melody in section B, in the subdominant. The right hand’s syncopated chordal
accompaniment is played on off beats. The left hand melody could employ the thumb on
black keys. It contains one quick ascending skip of a tenth. Subito mp and subito f
markings offer dynamic interest and contrast throughout the piece, which ends on an F-
major chord with an added major sixth.
56
Shaping the left hand melody while observing staccato and legato articulation is
the main challenge. Two other challenges are present: coordinating the syncopated
melody with the syncopated off beat chords; and playing the two-note slur, staccato, and
legato melodic articulations in the syncopated context.
[CR: Syncopation; Articulation]
Additional annotated literature addressing left hand melody:
Editora Arthur Napoleão, Rio de Janeiro, 1976. Intermediate, 2:20. See Syncopation.

57
CHAPTER 11
MELODY AND ACCOMPANIMENT
Campos, W. Nasari. “Prelúdio,” No.1 from Miniaturas (Prelude, No.1 from

Miniatures). Irmãos Vitale, São Paulo, 1975. Intermediate, 0:50.
Style: perpetual motion, lyrical
Markings: ( = 76) (The dot is missing next to the quarter note in the score.)
Meter:
Key: C major
Form: AA
Pedal: damper pedal indicated throughout
The texture and content of this music are reminiscent of some Mendelssohn
“Songs without Words.” The right hand plays a perpetual motion pattern in sixteenth-
note triplets. A conjunct melody note is played on each beat by the right hand’s fourth
and fifth fingers. A broken chord accompaniment figuration occurs on the second and
third sixteenth of each beat, played by the right hand’s thumb, second, and third fingers.
The left hand plays a predominantly conjunct bass line in longer note values. The piece
ends on an unresolved C-G-D chord. Fingering is suggested throughout, although
students with smaller hands may choose not to use all suggestions. The damper pedal is
changed for each melody note. No contrast of texture or tessitura is presented.
58
The greatest challenge is bringing out the melody while subduing the
accompaniment notes.
Messina, Alfredo. Primeira Mazurca (First Mazurka). Irmãos Vitale, São

Paulo, 1973. Intermediate, 2:00.
Style: mazurka
Markings: Allegreto; Lento
Meter:
Key: C minor
Form: ABA coda
Pedal: no pedal indications
In section A, primarily conjunct melodic phrases are repeated every two measures
at a softer dynamic level. The melody features two-note slurs contrasting with staccato
articulation. The downbeat of the second measure of each phrase is accentuated with an
inverted mordent. The left hand’s accompaniment patterns include a descending eighth-
note chromatic scale, a bass-chord-chord pattern, and quarter notes in broken third or
sixth figuration. Skips as large as an octave occur in bass-chord-chord patterns. In
section B a disjunct melody is often presented in dyads and broken chords. The bass note
is sustained throughout the measure in the bass-chord-chord accompaniment passages.
The two-measure coda, marked lento, ends in C major.
59
Three main challenges are presented: balancing melody and accompaniment,
especially in piano and pianissimo sections; achieving sudden dynamic changes; and
targeting the bass note in the bass-chord-chord accompaniment.
[CR: Articulation]
Prado, Almeida. “Ballade für Sergei,” No.2 from Two Easy Pieces for Piano
(Ballad for Sergei, 1976). TONOS Music Publishers Inc., Michigan, 1983. Intermediate,
1:45.
Style: ballad, twentieth-century
Markings: Com ternura (with tenderness) ( = 76)
Meter:
Key: none; piece ends on an F-major seventh chord
Pedal: damper pedal indications throughout
The left hand plays a rhythmic ostinato accompaniment pattern comprised of
repeated major or minor harmonic thirds. The thirds move chromatically, and their
harmonic rhythm never changes at a rate faster than one measure. The predominantly
disjunct melody uses rhythmic and intervallic material in varying combinations
throughout. The diverse displacement of the melody’s rhythm in relation to the ostinato’s
rhythm destabilizes the effect of the ostinato. The combination of melody and
accompaniment create many major seventh and minor second harmonic intervals. At the
end (m. 40) the piece suddenly expands its range to the extremes of the keyboard.
60
Dynamics are restricted to pianissimo and piano until m. 40, where the lowest F on the
piano is played mezzo forte. The damper pedal is held for up to eight measures at a time.
The blending of these characteristics results in a hypnotizing ballad.
With the exception of the last six measures, the range of the piece is restricted to
the A below middle C to the C above middle C, creating a texture in which projecting the
melody is the piece’s greatest challenge. Choreographing the hands in such close
proximity is also a challenge.
[CR: Steady Beat Throughout; Articulation]

Vitale, São Paulo, 1969. Upper intermediate, 2:20.
Style: neo-romantic
Markings: Animado (animated) ( = 184)
Meter:
Key: C major
Form: theme and three variations
Three measures of melody and accompaniment followed by three measures of
chordal texture make up the two-part theme. The primarily disjunct melody, built mainly
of broken chords, is presented four times with different accompaniment patterns.
Ascending eighth-note broken chords spanning a tenth accompany the theme. In the first
61
variation the accompaniment presents a similar broken chord figuration in sixteenth
notes. In the second variation the melody shifts to the left hand while the right hand
plays accented eighth-note patterns imitating bells. The first part of the third variation is
accompanied by triads. The chordal section presents imitative material and dyads in both
hands. Dynamics range from piano to fortissimo. No fingering is provided.
The main challenge is shaping the left hand melody while playing the right hand’s
steady bell figuration in variation three. Voicing for the top notes in chordal sections is
another challenge.
[CR: Extensions; Chord/Wrist Technique]

1971. Upper intermediate, 1:10.
Style: northeastern Brazilian folk song
Markings: Alegre (happy) ( = 112-132)
Meter:
Key: D mixolydian
Form: Introduction ABA' coda
Harmonic Language: modal
Pedal: one damper pedal indication in the last measure
This piece contains two main characteristics found in the accordion folk style of
northeastern Brazil: the improvisatory character of the melody and the mixolydian mode.
62
The left hand’s ostinato accompaniment offers the support for the melody:
. The predominantly conjunct melody presents staccato,
legato, and accented notes. In section B the right hand melody is incorporated in
sixteenth-note passage work in contrary or parallel motion to the left hand ostinato. In
section A', the melody once played forte in section A is played piano. In the coda a
fermata marked curta (short), is followed by a brief syncopated unison melody, marked
fortissimo, closing out this energetic piece.
Three main challenges are presented: balancing melody and the active ostinato
accompaniment; playing the staccato, legato, and accent articulations in the melody;
keeping the ostinato pattern steady throughout.
[CR: Articulation; Steady Beat Throughout]
Mendes, Gilberto. Prelúdio, No. 4 (1953). Ricordi Brasileira, São Paulo, 1971.
Upper intermediate, 2:15.
Style: neo-romantic
Markings: Andante mosso ( = 58)
Meter:
Key: D-sharp minor
Form: AAB
Pedal: damper pedal indications throughout
In section A, the primarily conjunct syncopated melody is accompanied by three
different chordal figurations that maintain this syncopation throughout: . First
63
comes a broken chord pattern in sixteenth notes, then a waltz style accompaniment, and
lastly a block chord accompaniment. Passages of eight conjunct harmonic thirds, which
can be played one voice to each hand, are found in mm. 4 and 8. In section B melodic
seconds and thirds form the syncopated melody, played by the left hand. Section A’s
accompaniment syncopation patterns, in a less dense texture, are played by the right
hand. The accompaniment consists of dyads or chords repeated for twelve consecutive
measures. The piece ends with an ascending D-sharp minor arpeggio given to the right
hand. Double sharps are used four times. No fingering is given.
Because the thick accompaniment texture is placed in the middle register in
section A, balancing the melody and accompaniment is the greatest challenge. Playing
different syncopations between the hands poses another challenge. The rarely-used key
of D-sharp minor offers reading and playing challenges.
[CR: Syncopation]
Morozowics, Henrique de Curitiba. “Balançado, Quase Caipira,” No.4 from

Pequena Suite (Swaying, Quasi Brazilian Country Red-neck Style, No.4 from Short
Suite, 1960). Ricordi, São Paulo, 1969. Upper intermediate, 0:35.
Style: southeastern Brazilian country song
Markings: tempo justo
Meter:
Key: F major
Form: AB
64
This music is often played for group dancing, comparable to American square
dancing. The melody, played in parallel thirds (section A) and sixths (section B) by the
right hand, is characteristic of southeastern Brazilian country music. Although it is in
quadruple meter, the feel is duple, another country music characteristic. In both sections
the melody is predominantly conjunct, descending diatonically. The swinging
syncopated left hand accompaniment contrasts with the steady eighth-note rhythm in the
right hand’s melody. The accompaniment contains skips as large as a major tenth.
Dynamics range from mezzo forte to forte.
Playing legato consecutive harmonic thirds while voicing the top note is a
challenge. The continuous skips in the left hand pose a secondary challenge.
[CR: Syncopation; Chord/Wrist Techniques]
Additional annotated literature addressing melody and accompaniment:
(Almost Happy, No.6 from Ten Easy Pieces for Piano). Irmãos Vitale, São Paulo, 1959.
Lower Intermediate, 1:00. See Contrapuntal Playing.

from Curumins, 1960). Irmãos Vitale, São Paulo, 1977. Lower intermediate, 1:00. See
Contrapuntal Playing.
Lacerda, Moura. Acalanto (Lullaby). CEMBRA, São Paulo, 1963. Lower

intermediate, 1:00. See Left Hand Melody.
Leite, Clarisse. Na Casaca do Vovô (On Grandpa’s Coat, 1973). Ricordi

Brasileira, São Paulo, 1973. Lower intermediate, 1:10. See Alternating Hands.
São Paulo, 1955. Intermediate, 1:45. See Extensions.
65
Araujo, Benjamin Silva. “Inverno,” Op. 10, No. 4 (Winter). Irmãos Vitale, São
Paulo, 1970. Upper intermediate, 1:30. See Syncopation.
Izzo, Italo. Valsa do Pica-pau (Waltz of the Woodpecker, 1960). Irmãos Vitale,
São Paulo, 1970. Upper intermediate, 2:40. See Articulation.
66
CHAPTER 12
SCALES
Lacerda, Osvaldo. “Lamúrias,” No.3 from Crosmos, 1º. Caderno (Laments,

No.3 from Crosmos, Book I). Irmãos Vitale, São Paulo, 1971. Upper intermediate, 1:40.
Style: twentieth-century
Markings: Sem pressa, lamuriante (Without rushing, grieving) ( = 76); Bem mais
depressa (Much faster) ( ± 116)
Meter: and
Key: none
Harmonic language: chromatic scales; brief occurrences of two-part counterpoint
Pedal: no damper
Largest span: melodic fifth
Lacerda explores the expressive possibilities of chromaticism in
“Lamúrias”. The texture is predominantly one voice that shifts from one hand to the
other. The majority of intervals used are minor seconds and tritones. Descending and
ascending sixteenth-note chromatic scales end with descending minor second
appoggiaturas in longer value notes. Descending chromatic scale fragments, ornamented
from above by grace notes at the interval of a tritone, close the piece. The third last
measure is to be repeated about four times, creating a hypnotic effect. Dynamics range
67
from pianissimo to fortissimo, always following the ascending and descending shape of
the line.
Three main challenges must be met: playing the chromatic scales steadily and
smoothly; making smooth transition between hands in the continuous chromatic scales;
and achieving a convincing interpretation.
Additional annotated literature addressing scales:
Campos, Lina Pires de. Estorietas, No.5 (Little Stories, No.5, 1983). Ricordi
Brasileira, São Paulo, 1985. Upper Intermediate, 1:45. See Articulation.
Brasileira, São Paulo, 1971. Upper intermediate, 1:10. See Wrist/Chord Techniques.
68
CHAPTER 13
STEADY BEAT THROUGHOUT
Campos, Lina Pires de. Estorietas I (Little Stories I, 1975). Ricordi Brasileira,
São Paulo, 1976. Intermediate, 1:00.
Style: march
Markings: = 112 a 120
Meter:
Key: A minor
Form: AA'
Much use of steady left hand quarter-note patterns gives this piece a march
character. A one and a half-measure accompanimental introduction, marked “bem
ritmado” (rhythmically), precedes the right hand melody. Predominantly staccato
harmonic thirds accompany a legato melody that moves up and down in diatonic scale
patterns. Both melody and accompaniment move primarily in conjunct motion. The
dynamics follow the shape of the melody and range from piano to forte.
69
The main challenge is keeping a steady staccato left hand while shaping the right
hand legato melody. Playing two fast groupings of three consecutive harmonic thirds in
the left hand is a secondary challenge.
[CR: Articulation]
Lacerda, Osvaldo. “Metrônomo Dodecafônico,” No.17 from Crosmos, 5º

Caderno (Dodecaphonic Metronome from Crosmos, 5th Book). Ricordi Brasileira, São
Style: twentieth-century
Markings: Com Elegância (Elegantly) ( =138-144)
Meter: , with two bars of
Form: nine variations
Harmonic Language: dodecaphonic
Pedal: no pedal
Largest span: melodic minor ninth
In this piece, Lacerda employs a twelve tone series in nine variations using
different rhythmic patterns. (The row and its retrograde are printed in the score, a useful
teaching aid.) The series is presented twice in retrograde motion in addition to
presentations in its original form. The variations range in mood from heavy and serious
to light and funny. In imitation of a metronome, the left hand continually plays an
ostinato pattern composed of two staccato alternating harmonic minor seconds. The
composer specifies that the pattern should be played in “absolutely strict tempo.” The
melody contains staccato and legato articulation, grace notes, dotted rhythms,
syncopation, triplets, and triplets against duplets.
70
Executing the different rhythms in the right hand while keeping a steady beat in
the left hand is the main challenge. Mastering this piece develops the skill to play three
against two. The performer is also challenged by quick changes of character. All of this
is done in the context of an unconventional harmonic language.
[CR: Contemporary Technique]
Additional annotated literature addressing steady beat throughout or through a section:
Leite, Clarisse. Contempla o Horizonte, Filho! (Contemplate the Horizon,

Son!). Ricordi Brasileira, São Paulo, 1973. Lower intermediate, 0:40. See Alternating
Hands.

Miniatures). Musikverlag Hans Gerig, Cologne, 1978. Lower intermediate, 0:25. See
Finger independence.
Morozowicz, Henrique de Curitiba. “O Picapau Amarelo,” No.1 from Pour

Martina (The Yellow Woodpecker, No.1 from For Martina, 1972). Musikverlag Hans
Gerig, Cologne, 1978. Lower intermediate, 0:40. See Articulation.
Santoro, Claudio. Peças Infantis, No.5 (Children’s pieces, No.5, 1951). Ricordi
Brasileira, São Paulo, 1954. Lower intermediate, 0:45. See Extensions.
Lacerda, Osvaldo. Galopando (Trotting, 1972). Ricordi Brasileira, São Paulo,

1972. Intermediate, 1:00. See Articulation.
Mahle, Ernst. “Hoppla, hoppla, bum bum bum” from Melodias da Cecília
(Cecília’s Melodies). Bravo Brazil!, edited by David and Martha Appleby. Kjos West,
California, 1983. Intermediate, 0:55. See Left Hand Melody.
Mignone, Francisco. O Velho, o Menino e o Burro (The Old Man, the Boy and
the Donkey, 1976). Editora Arthur Napoleão Ltda., Rio de Janeiro, 1976. Intermediate,
1:45. See Syncopation.
(Ballad for Sergei, 1976). TONOS Music Publishers Inc., Michigan, 1983. Intermediate,
1:45. See Melody and Accompaniment.
71
1971. Upper intermediate, 1:10. See Melody and Accompaniment.

72
CHAPTER 14
SYNCOPATION
Editora Arthur Napoleão, Rio de Janeiro, 1976. Intermediate, 2:20.
Style: chôro
Markings: À Maneira de Nazareth (Nazareth’s way, see glossary)
Meter:
Key: E major
Form: ABA coda
“Quem vestir pele de leão, nem zurre, nem deixe as orelhas de fora” (An ass in a
lion`s skin should neither roar nor show his ears). This, the moral of Aesop’s fable “The
Ass in the Lion's Skin,” is printed under the title in the score. Mignone depicts an
attempted roar at a chromatic deceptive cadence sustained with a fermata (m. 16), which
probably does not scare the adversary. The playful music goes on its merry way
depicting the opponent’s scorn.
This piece features syncopation, guitar-like writing, and varied articulations
including two-note slurs, staccato, and off beat accented notes. Section A consists of a
disjunct syncopated melody accompanied by broken chords. Grace notes are featured in
73
this melody. Section B has a predominantly monophonic texture that specifically
imitates guitar style. In its twelve measures, the hands play together only five times. The
melody shifts back and forth between the hands, swirling up and down in arpeggios and
four-note chromatic and diatonic scale fragments. The ascending arpeggios in the left
hand in mm. 19 and 21 require crossing over the thumb. The coda features hand
crossings in a descending arpeggio followed by ascending staccato broken chords passing
from hand to hand. Thorough articulation marks are provided.
Playing the syncopated rhythms while observing the articulation and accent
markings is the greatest challenge. Achieving smooth passage of the melody between
hands in section B is another challenge.
[CR: Articulation; Left Hand Melody]
Mignone, Francisco. O Velho, o Menino e o Burro (The Old Man, the Boy and
the Donkey, 1976). Editora Arthur Napoleão Ltda., Rio de Janeiro, 1976. Intermediate,
1:45.
Style: chôro
Markings: Andamento de velho saudosista (at the tempo of an old man filled with
nostalgia)
Meter:
Key: E-flat major
Form: ABB'A coda
74
This piece was inspired by the fable “The Old Man, the Boy and the Donkey.”
Under the title, Mignone placed the moral of the fable: “Sê fiel a ti mesmo, acima de
tudo” (Be faithful to yourself above all things).
Nostalgic feeling and syncopation, the main characteristics of the chôro (see
glossary), are explored in this piece. In section A, this syncopation is presented in the
right hand melody six times: . The nostalgic mood is created by recurring
descending melodic lines, frequent appoggiaturas, and chromaticism. In section A the
syncopated melody is accompanied by broken chord patterns, some of which are
syncopated. In section B, the melody in the second period is a variation of the first,
consisting of an ascending sequence of sixteenth notes. A syncopated broken chord
accompaniment is played in the left hand in this rhythm: . The coda
contains a quick modulation to E major and an unexpected pause before closing on the
tonic. Detailed dynamics markings are presented.
The greatest challenge is playing the syncopated rhythms accurately. Keeping a
steady beat throughout the long sixteenth-note pattern in section B poses another
challenge.
[CR: Steady Beat: section B]
Schmidt, Yves Rudner. Batuque (see glossary, 1952). Irmãos Vitale, São
Paulo, 1977. Intermediate, 1:50.
Style: Afro-Brazilian dance
Markings: Misterioso (sem pressa)(misterious, without rushing); alegre(happy); mais

animado (more animated)
Meter:
75
Key: F major
Form: ABCC coda
Harmonic Language: tertian, bichordal
This savage sounding piece, imitating syncopated Afro-Brazilian rhythmic drum
patterns, employs frequent minor second clashes in the lower register. The first nineteen
measures of section A, notated in the bass clef on only one staff, present a solo line
divided between the hands. From m. 20 on, both staves are notated in the bass clef. In
sections B and C both hands play syncopations, the right hand in parallel sixths and the
left hand in parallel perfect fifths. In these sections the last eighth note of every measure
is accented. Section B presents a descending one-measure chromatic scale in the left
hand. The piece accelerates from section to section. In the coda, a grace note in the bass
hurls itself at the final fortissimo chord.
Playing different syncopations simultaneously, one in each hand, is the greatest
challenge. Playing evenly in alternating hands passages and targeting the last chord after
its preceding grace note are secondary challenges.
[CR: Alternating hands]
Schmidt, Yves Rudner. Zóinho (Little Eye, 1953). Irmãos Vitale, São Paulo,
1977. Intermediate, 1:50.
Style: sambinha erudito (little classical samba)
Markings: gingando (com simplicidade)(dancing, with simplicity); queixoso (moaning)
Meter:
76
Key: F major
Form: ABA'
Harmonic Language: traditional with unusual tonal structure
The samba’s syncopated rhythm is present throughout: . The right hand
plays the melody, with occasional notes given to its thumb which coordinate with the left
hand accompaniment. Section B starts in E-flat major and ends by modulating to C
minor, foreshadowing the piece’s final cadence. The last two chords of the modulation
suddenly shift the moaning (queixoso) mood of section B back to the original happy
dance in F major (section A'). Instead of closing in F major, the piece ends on a C-minor
chord with an added major seventh and major ninth. Dynamics range from piano to
mezzo forte.
Sharing of the syncopated accompaniment between the hands poses a challenge,
as does projecting the melody without accenting the accompaniment notes in the right
hand.
Araujo, Benjamin Silva. “Inverno,” Op. 10, No. 4 (Winter). Irmãos Vitale, São
Style: late romantic, impressionistic
Markings: Andantino; Mosso; Tempo Primo
Meter:
Key: G minor
77
Form: ABA coda
Harmonic Language: tertian, whole tone scales, much chromaticism
This melancholy impressionistic piece uses the whole tone scale, chromatic
descending lines, and syncopation. In section A the right hand’s primarily descending
melody lines are accompanied by the left hand’s quarter-note pattern on the off beats. In
section B, now in an agitated double time, a lower second voice on the off beats is added
to the right hand. Ascending arpeggios and conjunct passages form the left hand
accompaniment. The mezzo forte to fortissimo dynamic range in section B contrasts with
the pianissimo to mezzo piano dynamic range in section A. An alternate fingering in m.
13, top voice is 4, 3, 4, 5. In m. 24, in beat 1.5 in the left hand lower voice, the A natural
is a misprint. It should read B-flat.
Retaining the feeling of a down beat in the right hand’s melody in section A is a
challenge because of the left hand’s syncopation. In section B, balancing melody and
accompaniment in the right hand is another challenge. In the same section, carefully
chosen fingering is required to execute the rapid rotation passage in the right hand
smoothly.

Irmãos Vitale, São Paulo, 1976. Upper intermediate, 1:00.
Style: Brazilian children’s folk song
78
Markings: Alegre (Happy) ( = 100)
Meter:
Key: D major
Form: Introduction AB coda
Harmonic Language: traditional, with blues notes
Pedal: no pedal
The entire piece presents this syncopation: , distributed between the
hands. In the first four measures of the sixteen-measure introduction, and in the coda, the
hands play an alternating figuration in close proximity. In the first eleven measures both
hands are notated in the lower staff. In sections A and B, the melody and accompanying
chords are given to the right hand. The left hand plays Alberti bass figurations or broken
octaves in habañera rhythm. The last three measures of the piece present fortissimo
martellato chords. The second last measure presents a D major chord with added E and F
natural. The two non-chord tones are released in the next measure, resulting in a final D
major sonority. Blues notes and syncopation gives this piece a witty, humorous swing
character. Dynamics range from piano to fortissimo. No fingering is provided.
Coordinating the syncopated alternating hands figuration throughout is the main
challenge. Playing melody and accompaniment notes in the right hand simultaneously
pose a balance challenge.
[CR: Alternating Hands; Articulation]
79
Additional annotated literature addressing syncopation:
Leite, Clarisse. Domingo no Engenho (Sunday at the Mill, 1973). Ricordi

Brasileira, São Paulo, 1973. Intermediate, 1:40. See Extensions.
from the First Northeast Cycle, 1960). Irmãos Vitale, São Paulo, 1966. Intermediate,
0:35. See Articulation.
Intermediate, 0:55. See Contrapuntal Playing.
São Paulo, 1955. Intermediate, 1:45. See Extensions.
Widmer, Ernst. “Rondó,” No.112 from Ludus Brasiliensis, Vol.3 (see glossary).
Ricordi Brasileira, São Paulo, 1966. Intermediate, 1:00. See Contemporary Techniques.
Ricordi Brasileira, São Paulo, 1969. Upper intermediate, 1:55. See Contemporary
Techniques.
Côrtes, E. Villani. “Prelúdio,” No.1 from Série Brasileira (Brazilian Series,

1958). Irmãos Vitale, São Paulo, 1978. Upper intermediate, 1:30. See Extensions.
Upper intermediate, 2:00. See Wrist/Chord Techniques.
Paulo, 1976. Upper intermediate, 1:00. See Left Hand Melody.
Nobre, Marlos. Capoeira (1966). Irmãos Vitale, São Paulo, 1971. Upper
Intermediate, 1:00. See Contemporary Techniques.
Mendes, Gilberto. Prelúdio, No. 4 (1953). Ricordi Brasileira, São Paulo, 1971.
Upper intermediate, 2:15. See Melody and Accompaniment.

Suite, 1960). Ricordi, São Paulo, 1969. Upper intermediate, 0:35. See Wrist/Chord
Techniques.

80
CHAPTER 15
WRIST/CHORD TECHNIQUE
Upper intermediate, 2:00.
Style: Brazilian children’s circle dance
Markings: Alegre ( = 144) in section A; ( = 42) in section C
Meter:
Key: G major
Form: ABACA coda
Usually, participants in this type of dance form a circle and hold hands.
In sections A and B the staccato melody is located in the upper voice of a three-
or four-part homophonic texture. In section C, a legato melody is presented primarily in
parallel fourths, contrasting with the staccato melody of sections A and B. A broken
chord accompaniment using the syncopated rhythm provides further contrast
to the previous sections. Although no damper pedal marks are notated in section C, the
lyrical writing implies its use. The coda features a three octave contrary motion G-major
arpeggiated figuration.
81
Four main challenges must be met: simultaneously playing the right hand
staccato and left hand legato in sections A and B while respecting accent and tenuto
markings; negotiating quick shifts in the intervallic staccato melody of section A; keeping
a loose right wrist for repeated consecutive staccato dyads; and achieving a legato in the
sequences of parallel fourths in the right hand melody in section C. Attaining lateral
wrist flexibility to perform the left hand figuration in section C presents another
challenge.
[CR: Syncopation; Extensions]
Brasileira, São Paulo, 1971. Upper intermediate, 1:10.
Markings: Vivo ( = 104)
Meter:
Key: Begins in C major, ends in D major
Form: ABA'B'A" coda
Harmonic language: traditional, with much chromaticism
Pedal: damper and soft pedal indications
This dance depicts squirrels jumping, running, and throwing nuts at each other.
Short phrases printed between the staves narrate the story: um esquilo (one squirrel); dois
esquilos (two squirrels); tres esquilos (three squirrels); quarto esquilos (four squirrels);
dão saltinhos (jump); atiram nozes uns nos outros (throw nuts at each other); limpam as
patinhas (clean their paws); jogam nozes (throw nuts); pulos largos (jump far); todos
82
desatam na correria (they all start to run); sumindo pela floresta adentro (and disappear
in the forest); o último some (the last one vanishes); silêncio! (silence).
In sections A, A', and A" the accompaniment consists of chords jumping one
octave on the first beat of each measure. The predominantly conjunct melody remains
within five-finger positions and employs staccato and legato articulations. In section A",
a descending three-octave chromatic scale accompanies the final phrase. Sequences of
repeated harmonic thirds form the melody in sections B and B'. At the end of sections B
and B' both hands play a chord jumping twice by ascending octaves. Non-chord tones
add humor to this lively dance.
Attaining wrist flexibility required to perform chord passages is the
greatest challenge. Two other challenges are present: shaping the right hand melody
while playing the three-octave descending chromatic scale in the left hand; and quickly
negotiating large chord skips in the left hand.
[CR: Articulation; Scales]
Additional annotated literature addressing wrist/chord techniques:


Suite, 1960). Ricordi, São Paulo, 1969. Upper intermediate, 0:35. See Melody and
Accompaniment.
83
CHAPTER 16
CONCLUSION
Fifty-nine pieces by thirty-one composers are annotated in the preceding chapters.
Selected after examining more than three hundred pieces, they are a representative
sample of the rich repertoire of teaching material composed after 1950 that Brazilian
composers offer to the intermediate student. Many of the composers are little known
beyond the borders of Brazil. Several are quite prolific, such as Clarisse Leite and
Osvaldo Lacerda, each with more than one hundred didactic pieces in their catalogues.
People of international repute such as Camargo Guarnieri, Francisco Mignone, Marlos
Nobre, and Claudio Santoro also have contributed to this repertoire.
A breakdown of the annotated works by difficulty level yields ten lower
intermediate, twenty-five intermediate, and twenty-four upper intermediate pieces. 50%
contain Brazilian national musical traits. Brazilian styles or forms represented are
capoeira (1), samba (3), chôro (3), toada (1), northeastern folk song (3), and southeastern
red-neck song (1). 42% contain syncopation. With the exception of waltzes, all pieces
with national traits are in duple meter.
As for a stylistic breakdown of the annotated pieces, 3% are neo-baroque, 5% are
classical, 13% are neo-classical, 22% are romantic, 18% are neo-romantic, 5% are
impressionistic, and 34% are contemporary. Some pieces juxtapose two harmonic
languages as in “Melancolia,” by Schmidt, which contains tonal and atonal sections.
84
Traditional forms and styles are also represented: toccata (6); waltz (6); lullaby
(2); perpetual motion (2); variations (2); ballad (1); march (1); humoresque (1); mazurka
(1); scherzo (1).
Eight pieces are atonal or contain atonal sections. Often, pieces in this style are
extremely difficult. These rare intermediate level examples can expose a student to a
musical idiom often neglected by many piano teachers. Motivating students to play
atonal music is a challenge that should be embraced. At first, these pieces are difficult to
approach because they pose new challenges for the ears and the mind. If taught with a
patient and optimistic attitude, performing such works may result in satisfactory musical
experiences.
The annotated pieces are available for purchase either through the Association for
Latin-American Music and Art, ALMA online at http//www.alma-usa.com, phone
number 1-888-275-2562, or through the music store “Irmãos Vitale,” in São Paulo,
Brazil.
Hopefully, piano teachers will use this bibliography as a means of familiarizing
themselves with the intermediate repertoire composed by Brazilians after 1950. This
literature can enrich their students musically and contribute to their technical
advancement.
85
REFERENCES
Appleby, David P. The Music of Brazil. Austin: University of Texas Press, 1983.
________. “The Piano Music of Brazil.” Piano Quarterly, 106 (1979): 47-
51.
Béhague, Gerard. “Brazil.” New Grove Dictionary of Music and Musicians. Ed.
Stanley Sadie. New York: Macmillan Publishers Limited, 2001.
Marcondes, Marcos Antônio, ed. Enciclopédia da Música Brasileira Popular,

Erudita e Folclórica. São Paulo: Art Editora Ltda, 2000.
Mariz, Vasco. História da Música no Brasil. Rio de Janeiro: Civilização

Brasileira, 1981.
Winston, Cathy. Database for: 20th Century Intermediate Piano Literature:

Leveling Guidelines. http://mml.music.utexas.edu/pnorep/leveling.php
86
APPENDICES
87
APPENDIX A
PIECES LISTED ALPHABETICALLY BY COMPOSER
(Almost Happy, No.6 from Ten Easy Pieces for Piano)
Contrapuntal Playing
Anacleto, Carmela. Pingos Verdes (Green Drops).

Contemporary Techniques
Araujo, Benjamin Silva. “Inverno,” Op. 10, No. 4 (Winter).

Syncopation
Blauth, Brenno. “I,” from Duas Peças Breves (I, from Two Short Pieces)
Blauth, Brenno. “Festa de Nossa Senhora do Roció,” No.2 from Suite

Parnanguara (Feast of Our Lady of Roció, No.2 from Parnanguara
Suite).
Melody and Accompaniment
Brandão, J. Vieira. “Valsinha,” No.2 from Suite Mirim (Little Waltz, No.2
from Children’s Suite).
Articulation
Brandão, J. Vieira. Valsa dos Sapatinhos Vermelhos (Waltz of the Little Red Shoes).
Campos, Lina P. Estorietas I (Little Stories I ).

Steady Beat Throughout
Campos, Lina P. Estorietas V (Little Stories V).

Articulation
Miniatures).
Finger Independence
Campos, Nasari. “Prelúdio,” No.1 from Miniaturas (Prelude, No.1 from

Miniatures).
Finger Independence
Côrtes, E. Villani. “Prelúdio,” No.1 from Série Brasileira (Brazilian Series)

Extensions
88
Fagnani, Orlando. Mini Prelúdio No. 1 (Short Prelude No.1)
Extensions
França, Lourdes. Valsa, No. 8 (Somente para a Mão Esquerda) (Waltz No.8, for left
hand alone)
Left Hand Melody
Godinho, Belmácio Pousa. Humoresque

Finger Independence

from Curumins)

Hands, No.3 from Miniatures - V).
Alternating Hands
Izzo, Italo. Cirandando (Circle Dance)

Wrist/Chord Techniques
Izzo, Italo. Valsa do Pica-pau (Waltz of the Woodpecker).

Articulation
Kiefer, Bruno. Em Poucas Notas…(With Few Notes…).

Lacerda, Moura. Acalanto (Lullaby).

Left Hand Melody
Articulation
Lacerda, Osvaldo. “Lamúrias,” No.3 from Crosmos, 1º. Caderno (Laments, No.3
from Crosmos, Book I).
Scales
Lacerda, Osvaldo. “Metrônomo Dodecafônico,”No.17 from Crosmos, 5º Caderno

(Dodecaphonic Metronome from Crosmos, 5th Book).
Steady Beat Throughout
Lacerda, Osvaldo. “Samba,” No.1 from Brasiliana No.7.

Left Hand Melody
Lacerda, Osvaldo. “Sanfoneiro em Ré,” No.4 from Crosmos, 1º. Caderno (Accordion
Player in D, No.4 from Crosmos, First Book).
89
Lacerda, Osvaldo. Galopando (Trotting).
Articulation
Lacerda, Osvaldo. Toada, No. 6

Finger Independence
Leite, Clarisse. Contempla o Horizonte, Filho! (Contemplate the Horizon, Son!).

Alternating Hands
Leite, Clarisse. Dança dos Esquilos (Dance of the Squirrels).

Wrist/Chord Techniques
Leite, Clarisse. Domingo no Engenho (Sunday at the Mill).

Extensions
Leite, Clarisse. Na Casaca do Vovô (On Grandpa’s Coat).

Alternating Hands

Miniatures).
Mahle, Ernst. “Hoppla, hoppla, bum bum bum” from Melodias da Cecília
(Cecília’s Melodies).
Left Hand Melody
Martins, Wanderley Carlos. “Chorinho,” from Suite No.2, Op.5 (see glossary).
Mechetti, Fábio. “Acalanto,” No.1 from Suite para piano (Lullaby, No.1 from Suite
for piano).
Mendes, Gilberto. Prelúdio, No. 4

Messina, Alfredo. Primeira Mazurca (First Mazurka).

Syncopation
Mignone, Francisco. O Velho, o Menino e o Burro (The Old Man, the Boy and the
Donkey).
Syncopation
90
Morozowics, Henrique de Curitiba. “Balançado, Quase Caipira,” No.4 from Pequena
Suite (Swaying, Quasi Brazilian Country Red-neck Style, No.4
from Short Suite).
Morozowicz, Henrique de Curitiba. “As margaridas em flor, ao vento,” No.2 from

Pour Martina (Blooming Marguerites in the Wind, No.2 from For
Martina).
Improvisatory
Morozowicz, Henrique de Curitiba. “Borboletas Psicodélicas,” No.3 from Pour

Martina (Psychedelic Butterflies, No.3 from For Martina).
Alternating Hands
Morozowicz, Henrique de Curitiba. “O Picapau Amarelo,” No.1 from Pour Martina

(The Yellow Woodpecker, No.1 from For Martina).
Articulation

(Toccatina, No.1 from Accessible Suite).
Alternating Hands
from the First Northeast Cycle).
Articulation
Samba from the First Northeast Cycle, No.1).
Nobre, Marlos. Capoeira (see glossary).

Oliveira, Rochildes Bernardes de. “O Canto do Galo Ocidental,” No.6 from Coleção
Infantil (The Song of the Western Hen, No.6 from Children’s
Collection).
Syncopation
(Ballad for Sergei).
Santoro, Claudio. Paulistana, No.1 (From São Paulo, No.1).

Extensions
Santoro, Claudio. Peças Infantis, No.5 (Children’s pieces, No.5).

Extensions
91
Schmidt, Yves Rudner. “Caixinha de Surpresas – Valsa,” No.6 from Coletânea de
Peças Infantis (Surprise Box - Waltz, No.6 from Collection of
Children Pieces).
Finger Independence
Schmidt, Yves Rudner. “Melancolia,” No.4 from Expressões (Melancholy, No.4 from
Expressions).
Extensions
Schmidt, Yves Rudner. “Passeio no Parque,” No.5 from Coletânea de Peças Infantis
(Promenade in the Park, No.5 from Collection of Children Pieces)
Articulation
Schmidt, Yves Rudner. Zóinho (Little Eye).

Syncopation
Schmidt, Y. Rudnes. Batuque (see glossary).

Syncopation
Widmer, Ernst. “Ping Pong,” No.147 from Ludus Brasiliensis, Vol. 4 (Brazilian
Games)
Alternating Hands

Games).
92
APPENDIX B
93
STATISTICAL TABLE OF ANNOTATED REPERTOIRE
Lower Intermediate
Upper Intermediate
Impressionistic
Contemporary
20th C. Atonal
Neo-romantic
Neo-classical
Neo-baroque
Syncopation
Intermediate
Composer
Romantic
Classical
Baroque
National
Meter
Page
Title Style
ALTERNATING HANDS
Mãos Cruzadas Guerra-Peixe x toccata x quadruple 7
Contempla o Horizonte Leite x toccata x duple 8
Na Casaca do Vovô Leite x toccata x duple 9
Ping Pong Widmer x toccata x duple 11
Borboletas Psicodélicas Morozowics x toccata x duple 12
Tocatinha Morozowics x toccata x x x duple 13
ARTICULATION y y
O Picapau Amarelo Morozowics x piece x duple 15
Valsinha Brandão x waltz x x triple 16
Galopando Lacerda, O. x northeastern Brazilian modal dance x x duple 17
Gavião Nobre x two-part imitation x x x duple 18
Passeio no Parque Schmidt x neo-classical x duple 19
Estorietas V Campos, L. x scherzo x x duple 20
Valsa do Picapau Izzo x waltz x triple 21
Cana Verde Lacerda, O. x Brazilian children's folk dance x x x duple 22
CONTEMPORARY TECHNIQUES
Em Poucas Notas... Kiefer x twentieth-century, improvisatory x x x changing 25
Rondó Widmer x neo-classical x x x x duple 26
Pingos Verdes Anacleto x twentieth-century, impressionistic x x x changing 27
Duas Peças Breves I Blauth x twentieth-century atonal x x x changing 28
Capoeira Nobre x capoeira x x x duple 29
CONTRAPUNTAL PLAYING
Quase Alegre Alimonda x classical x x quadruple 31
Acalanto Mechetti x imitative, neo-baroque x triple 32
Brincando Guarnieri x classical x duple 33
Samba Matuto Nobre x samba x x x duple 34
Valsa dos Sapatinhos Brandão x waltz x triple 35
Chorinho Martins x chorinho, neo-baroque x x x x duple 36
94
Lower Intermediate
Upper Intermediate
Impressionistic
Contemporary
20th C. Atonal
Neo-romantic
Neo-classical
Neo-baroque
Syncopation
Intermediate
Romantic
Classical
Baroque
National
Meter
Page
Title Composer Style
EXTENSIONS
Peças Infantis, No.5 Santoro x Brazilian children's song x x duple 38
Mini Prelúdio Fagnani x jazz/popular x duple 39
Domingo no Engenho Leite x northeastern Brazilian dance x x x duple 40
Paulistana Santoro x neo-romantic x x x duple 41
Prelúdio Côrtes x neo-romantic x x x duple 42
Melancolia Schmidt x twentieth-century, lyrical x x duple 43
FINGER INDEPENDENCE
Quebra-cabeça Lima x perpetual motion x duple 45
Bem Seresta Campos, N. x waltz, valsa de esquina x x triple 46
Humoresque Godinho x gigue x duple 47
Caixinha de Surpresas Schmidt x waltz, twentieth-century x triple 48
Toada No.6 Lacerda, O. x toada x x x duple 49
IMPROVISATORY
As Margaridas em flor, ao vento Morozowics x impressionistic, improvisatory x triple 51
LEFT HAND MELODY
Acalanto Lacerda, M. x lullaby x x duple 53
Valsa No.8 França x waltz x x triple 54
Hoppla, hoppla, bum bum bum Mahle x Brazilian children's song x x duple 55
Samba Lacerda, O. x samba x x x duple 56
MELODY AND ACCOMPANIMENT
Prelúdio Campos, N. x perpetual motion, lyrical x triple 58
Primeira Mazurca Messina x mazurka x triple 59
Ballade für Sergei Prado x ballad, twentieth-century x x mixed 60
Festa de Nossa Senhora do Roció Blauth x neo-romantic x quadruple 61
Sanfoneiro em Ré Lacerda, O. x northeastern Brazilian folk song x x duple 62
Prelúdio No.4 Mendes x neo-romantic x x x duple 63
Balançado, Quase Caipira Morozowics x song x x quadruple 64
95
Lower Intermediate
Upper Intermediate
Impressionistic
Contemporary
20th C. Atonal
Neo-romantic
Neo-classical
Neo-baroque
Syncopation
Intermediate
Romantic
Classical
Baroque
National
Meter
Page
Title Composer Style
SCALES
Lamúrias Lacerda, O. x twentieth-century x x triple 67
STEADY BEAT THROUGHOUT
Estorietas I Campos, L. x march x x quadruple 69
Metrônomo Dodecafônico Lacerda, O. x twentieth-century, dodecaphonic x x duple 70
SYNCOPATION
O Leão que não era Leão Mignone x chôro x x x duple 73
O Velho, o Menino e o Burro Mignone x chôro x x x duple 74
Batuque Schmidt x Afro-Brazilian dance x x x duple 75
Zóinho Schmidt x little classical samba x x x duple 76
Inverno Araujo x late romantic, impressionistic x x quadruple 77
O Canto do Galo Ocidental Oliveira x Brazilian children's folk song x x x duple 78
WRIST/CHORD TECHNIQUE
Cirandando Izzo x Brazilian children's circle dance x x x duple 81
Dança dos Esquilos Leite x neo-classic dance x duple 82
59 Pieces 31 comp. 10 25 24 0 2 3 8 13 11 3 20 8 29 25
96
APPENDIX C
GLOSSARY OF BRAZILIAN TERMS
batuque - Afro-Brazilian dance. In the Batuque, the dancers form a circle around one
performer. This solo dancer chooses the next soloist while shouting “sama”, a
traditional undefined expression. For more information see:
http://users.erols.com/arthurmurraydc/b.htm
berimbau - Afro-Brazilian musical bow consisting of a wooden stick strung with one
metal string.
capoeira - A fight brought to Brazil from Africa involving movement and music:
choreographic game. The speed and character of the jogo (game) are generally
determined by the many different rhythms of the berimbau, the pandeiro,
atabaque (single-headed standing drum), agogô (double bell), and reco-reco.
Inspiring solos and collective singing in a call-and-response dialogue join the
hypnotic percussion to complete the musical ambiance for the capoeira session.
For more information see: http://www.capoeiraarts.com/articles/history.html
chôro - The Chôro, from the Portuguese verb chorar meaning to weep, features a melody
in duple meter characterized by sentimental phrases and unexpected modulations.
The term can mean the act of getting together with particular instruments (flute,
guitar, cavaquinho, bandolim/mandolin, clarinet, and tambourine) to play chôro.
The style became popular in piano literature with compositions by Ernesto
Nazareth. For more information see: http://www.brazzil.com/musfeb96.htm
fandango - Name of an adult circle dance in the states of São Paulo, Paraná, Santa
Catarina, and Rio Grande do Sul (south of Brazil). Popular ball dance,
predominantly done in rural areas, featuring foot-stamping.
modinha - The diminutive of Moda (mode or style). Is directly derived from the
Portuguese songs and dances of that name. The early Modinhas were greatly
influenced by Italian music. The present day Modinhas are sentimental in mood
and similar to the Cuban Boleros. For more information see:
http://www.iversonsoftware.com/dance/
Nazareth, Ernesto (1863-1920) - Prolific composer of tangos, polkas, and other short
pieces. His style of composition used Brazilian urban elements, African and
Brazilian rhythms, and an unprecedented use of chromaticism. Nazareth is
immensely popular with Brazilian musical audiences.
pandeiro - tambourine
97
reco-reco - An instrument made of a piece of bamboo with notches cut into it and over
which a rod is rubbed to produce a rhythmical sound.
samba - A Brazilian style of folk dance, of African origin, characterized by the use of
syncopated rhythm in duple simple meter. The rhythmic pattern appears
with regularity.
toada - A song form on amorous subjects, generally set to four-, five-, or ten-line stanzas,
or to quatrains with refrain. The melody is usually in parallel thirds.
valsa de esquina - A series of concert waltzes composed by Francisco Mignone

employing Brazilian urban and folk materials characterized by sentimental
phrases.
98

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PEDAGOGICAL GOALS ADDRESSED IN PUBLISHED INTERMEDIATE PIANO

REPERTOIRE COMPOSED BY BRAZILIANS SINCE 1950:

A SELECTED ANNOTATED BIBLIOGRAPHY

CARLOS HENRIQUE COUTINHO RODRIGUES COSTA

(Under the direction of Richard L. Zimdars)

INDEX WORDS: Intermediate, Piano, Brazilian, Brazil

REPERTOIRE COMPOSED BY BRAZILIANS SINCE 1950:

A SELECTED ANNOTATED BIBLIOGRAPHY

CARLOS HENRIQUE COUTINHO RODRIGUES COSTA

B.S., The University of Campinas, São Paulo, Brazil, 1992

B.A., The University of Alabama, Huntsville, 1996

M.M., Youngstown State University, Youngstown, Ohio, 1998

A Document Submitted to the Graduate Faculty of the University of Georgia

In Partial Fulfillment of the Requirements for the Degree

DOCTOR OF MUSICAL ARTS

Carlos Henrique Coutinho Rodrigues Costa

All Rights Reserved

REPERTOIRE COMPOSED BY BRAZILIANS SINCE 1950:

A SELECTED ANNOTATED BIBLIOGRAPHY

CARLOS HENRIQUE COUTINHO RODRIGUES COSTA

Major Professor: Dr. Richard Zimdars

Committee: Dr. Leonard Ball

Electronic Version Approved:

2 ORIGINS OF ECLECTICISM IN INTERMEDIATE PIANO LITERATURE

COMPOSED BY BRAZILIANS SINCE 1950 ................................................ 4

5 CONTEMPORARY TECHINIQUES ............................................................ 25

6 CONTRAPUNTAL PLAYING ...................................................................... 31

8 FINGER INDEPENDENCE ........................................................................... 45

10 LEFT HAND MELODY................................................................................ 53

11 MELODY AND ACCOMPANIMENT......................................................... 58

13 STEADY BEAT THROUGHOUT................................................................ 69

15 WRIST/CHORD TECHNIQUE .................................................................... 81

A PIECES LISTED ALPHABETICALLY BY COMPOSER .......................... 89

B STATISTICS TABLE OF ANNOTATED REPERTOIRE ........................... 93

C GLOSSARY OF BRAZILIAN MUSICAL TERMS ..................................... 97

The purpose of this study is to compile a selected annotated bibliography of

wealth of teaching material written by Brazilian composers. Exposure to rhythms,

Two annotated bibliographies of Brazilian piano music, both in Portuguese, have

Some works receive no annotation. Occasionally, a major piece such as Villa-Lobos’

“Bachianas Brasileiras No. 4” receives a thorough description. No classification of

difficulty level is presented.

The second, written by Saloméa Gandelman and published in 1997, contains

repertoire at all levels. Organized by composer, it contains thorough annotations. Some

pedagogical content of the intermediate piano repertoire by Brazilian composers.

This study includes published intermediate piano pieces composed by Brazilians

This bibliography is organized by specific technical and musical goals. Each

level. Chapter titles are “alternating hands,” “articulation,” “contemporary techniques,”

“contrapuntal playing,” “extensions,” “finger independence,” “improvisatory,” “left hand

melody,” “melody and accompaniment,” “scales,” “steady beat throughout,”

“syncopation,” and “wrist/chord technique.”

The technical goal “extensions” involves playing figurations encompassing a

translations from the Portuguese are my own.

Winston was also used in assessing the level of difficulty1.

ORIGINS OF ECLECTICISM IN INTERMEDIATE PIANO LITERATURE

COMPOSED BY BRAZILIANS SINCE 1950

eclecticism found in the repertoire annotated in the following chapters. Western

musical expressions slowly took form.

The compositions of Heitor Villa-Lobos (1887-1959) marked a new level of

(1863-1934), Alberto Nepomuceno (1864-1920), Francisco Mignone (1897-1986) and

few, served as raw material for these and other composers.

Nationalism received a rejuvenating impulse in 1922 with the “Semana da Arte

artistic experimentation, the updating of Brazilian artistic intelligence, the formation of a