2 Baiao de Lacan Full Score

BRAZILIAN MUSIC FOR BAND SERIES
BAIO DE LACAN
music by
Carlos Althier Escobar

(Guinga)
lyrics by
Aldir Blanc
PRESIDENT OF THE FEDERATIVE REPUBLIC OF BRAZIL

Luiz Incio Lula da Silva
MINISTER OF CULTURE
Juca Ferreira
FUNDAO NACIONAL DE ARTES / FUNARTE
PRESIDENT
Srgio Mamberti
EXECUTIVE DIRETOR
Myriam Lewin
DIRECTOR OF THE MUSIC CENTER
Pedro Mller
PROJECT COORDINATION BANDS
Rosana G. Lemos
COMMUNICATION COORDINATION
Oswaldo Carvalho
COORDINATION ISSUES
Maristela Rangel
FUNARTE, 2008
IMPRESSO NO BRASIL / PRINTED IN BRAZIL
FUNARTE EDITIONS
Baio de Lacan
(Lacanian Baio)
music by
Carlos Althier Escobar

(Guinga)
lyrics by
Aldir Blanc
arrangement by
Hudson Nogueira
SCORES FOR BAND PUBLISHING PROJECT

G ENERAL DIRECTION
FLAVIO SILVA / MARIA JOS
DE
QUEIROZ FERREIRA
T ECHNICAL DIRECTION , ADAPTATION, REVISION

Marcelo Jardim
AND
STANDARDIZATION
MUSIC PUBLISHING
Si Thoca Edies Musicais
www.sithoca.com
Simone dos Santos
P ROGRAM NOTES
Marcos Vincio Nogueira
CONSULTING TABLE
Dario Sotelo
INDICATING
T ECHNICAL LEVEL
CONSULTING FLEXIBLE INSTRUMENTATION /ARRANGEMENTS

Hudson Nogueira
E LECTRONIC EDITING SCORE AND INSTRUMENTAL P ARTS
Alexandre Castro Sheila Mara
Leandro J. Campos Bruno Alencar
E NGLISH TEXTS
Tom Moore
T EXT E DITING AND REVISION
Maurette Brandt
G RAPHIC P RODUCTION
Joo Carlos Guimares
E DITORIAL PRODUCTION
Renata Arouca
COVER AND ILLUSTRATION
Rafael Torres
Fundao Nacional de Artes Funarte

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Tel.: (21) 2279-8106 - Fax: (21) 2279-8088
coordenacaobandas@funarte.gov.br
www.funarte.gov.br
BAND REPERTOIRE OF YESTERDAY, TODAY, AND OF ALL TIMES
he opportunity of resuming the process of publishing scores for band is a good reason for
rejoicing at Funarte. In 1995 and in 2000, 14 titles from the series Golden Repertoire
of Brazilian Bands were released; in 2004, Funarte released the series Hymns of Brazil, with
two titles. Presently 20 new titles are being published, ten of which in a new series called Brazilian
Music for Band, which includes high level arrangements of popular songs and some of the most
praised classics of Brazilian popular music. The new series also highlights original works written
specifically for bands by composers of various periods, and opens space for transcriptions from the
Brazilian symphonic repertoire.
These editions follow the international norms for publishing and the standardization of music
pieces for symphonic band, diversifying the supply of instrumental parts without losing sight of
the most noteworthy characteristics of our bands, as well as making possible for small groups and
bands, with reduced forces, to perform music using the same material. The process of publishing
scores for band is a search of more dynamic ways to supply a market which is always eager for
novelties and information and, at the same time, a means of keeping the traditions of our countrys musical culture alive and in performance. Making this repertoire available and sharing information must be an ongoing and continuous task, so that it can produce good results. To this end,
Funarte concentrates its efforts in producing and presenting the band repertoire of yesterday,
today, and of all times.
III Brazilian Music for Band Series Baio de Lacan
ABOUT THE NEW EDITIONS
ith these new series of editions, Funarte intends to expand the contemporary literature for bands in
Brazil, so as to quantify it and qualify it, with especial emphasis on the use of the technical and sty-
listic patterns of each piece, with the necessary revisions and annotations in terms of articulations, dynamics,
accents, nomenclature, tempi, rehearsal markings, abbreviations etc.
In order to allow that standards adopted by bands worldwide be applied, it was necessary to
make adaptations to the original material - without, however, altering its melodic, harmonic, and
rhythmic lines. Original orchestrations were maintained, with the addition of new information in
the area of timbre, in order to take the most advantage of present-day instruments.
The standard pattern adopted was: piccolo, flute, oboe, bassoon, Eb clarinet, Bb clarinets (3
parts), Bb bass clarinet, quartet of saxophones (2 Eb altos, 1 or 2 Bb tenors, and Eb baritone), F
horns (2 to 4 parts), Bb trumpets (3 parts), trombones (3 parts), baritone, tuba, contrabass
(strings), timpani, mallets (xylophone/bells or glockenspiel), percussion (snare drum, crash cymbals, suspended cymbals, bass drum, agog, rattle, tambourine, ganz, triangle, reco-reco, drum,
complete drums). In some works, particular instruments were suppressed, such as tenor sax 2 and
timpani, when they were not part of the original instrumentation. Nevertheless, the director
should note that the whole repertoire has its functionality guaranteed only with 1 flute, 1 Eb clarinet, 3 Bb clarinets, 1 Eb alto sax, 1 Bb tenor sax, 3 F horns or Eb saxhorns, 3 Bb trumpets, 3
trombones, 1 baritone, 1 tuba, and percussion (snare, cymbal and bass drum). Extra parts (not
included in the instrumentation) will be printed for Eb saxhorns, Bb baritone in bass clef, as well
as Bb and Eb tubas, in all the editions.
he repertoire of this series emphasizes arrangements of MPB and original compositions.
Optional instruments, originally intended by the composer or arranger, are included in
the scores instrumentation, but are not essential to the performance of the piece. It was sought to
retain such instruments as options, thus allowing the performance of a particular musical passage
in more than one way, so as to make possible its performance by symphonic and concert bands
and also to enhance its performance by traditional bands. To this end, indications of other instruments allow the conductor to have a mass of sound for performances in the open air, while
maintaining an equilibrium of sound in concerts taking place in closed spaces.
Maestro Marcelo Jardim
Technical Coordinator
Brazilian Music for Band Series Baio de Lacan IV
BAIO DE LACAN
music by Guinga
lyrics by Aldir Blanc
arrangement by Hudson Nogueira
Instrumentation
*piccolo
F French horn 1
flute
F French horn 2
*oboe
F French horn 3
*bassoon
Bb trumpet 1
*Bb clarinet
Bb trumpet 2
Bb clarinet 1
Bb trumpet 3
Bb clarinet 2
trombone 1
Bb clarinet 3
trombone 2
*Bb bass clarinet
trombone 3
Eb sax alto 1
euphonium
Eb sax alto 2
bass c
Bb sax tenor 1
timpani
Bb sax tenor 2
bells, xylophone
Eb sax baritone
snare drum
cymbals, bass drum, ganz
Extra Parts
Eb sax horn 1
Bb bartono
Eb sax horn 2
Bb tuba
Eb sax horn 3
Eb tuba
Note to the Director

All the parts marked with * are optional; they are not, therefore, essential to the performance
of the work. Such parts were added in accordance with the composers writing and the function of these instruments in the band, in order to allow the formatting of the score according
to present-day international standards.
V
Brazilian Music for Band Series Baio de Lacan
BAIO DE LACAN
music by Guinga
lyrics by Aldir Blanc
arrangement by Hudson Nogueira
his is a song in the style of the baio, which here receives a notably refined instrumental
treatment. We can understand that the piece was composed as a veritable study for wind
ensemble or wind orchestra, since it demands a rather special collective virtuosity on the part of
the performers. The form may be perceived as binary, emphasizing the angular arpeggiated motive
(already heard in the opening of the piece), and then the syncopated melody (as in measure 58).
Part A is divided into two sections: the first (measures 1-27), which is more intermittent, introduces the main motive and one of its broadened forms (measure 14); the second section once
again presents the thematic motive, prioritizing continuity and rhythmic flow, not only with the
support of the percussion section, but also with the lowest level of textural mobility applied to the
melodic line, which remains stable in one or in another section of the ensemble. A final variation
of the motive (measure 48) is presented in the concluding segment, which restates, once more, the
rhythmic configuration with which the piece will end. Part B then introduces the contrasting thematic element, and brings back a more diverse and colorful textural treatment. In these passages,
the necessity of dedicating particular attention to articulation is evident. This is so because the
melody is constructed by broadening the second motive of the phrase, which is repeated twice by
saxophones, flutes, and oboes, with a progressive thickening of the texture that is, with each
repetition of the motive, its characteristic features must be preserved, in order to maintain the
global integrity of the phrase. More than that: the contrasts of articulation and dynamics are the
elements that most clearly determine the differences of function, particularly in this musical genre,
which is so strongly marked by the expressivity that characterizes the action of the accordions
bellows. For example, the connection (measures 65-66) to the second phrase demands a specific
finishing that particularly highlights the marcato, since this will help to distinguish it from the
lightness of the main motive. At the conclusion, imitation based on one of the thematic cells leads
to a conclusive tutti on the same configuration, which ends part A.
Marcos Nogueira
Professor of Harmony and Composition
Universidade Federal do Rio de Janeiros School of Music
Brazilian Music for Band Series Baio de Lacan VI
CARLOS ALTHIER DE SOUZA LEMOS ESCOBAR GUINGA (1950)
arlos Althier de Souza Lemos Escobar, known as Guinga, was born in Rio de Janeiro and
began to compose at the age of sixteen. He worked with Clara Nunes, Beth Carvalho,
Alade Costa, Cartola and Joo Nogueira, among other Brazilian fine artists. Various of his songs
were recorded by important names such as Elis Regina, Michel Legrand, Srgio Mendes, Leila
Pinheiro, Chico Buarque, Clara Nunes, and Ivan Lins. His compositions have been written in
partnership with some of the most important Brazilian songwriters, such as Paulo Csar Pinheiro,
Aldir Blanc, Chico Buarque, Nei Lopes, Srgio Natureza, Nelson Mota, Simone Guimares,
Francisco Bosco, Mauro Aguiar, and Luis Felipe Gama. All 14 tracks of the CD Catavento e
Girassol (The Pin-Wheel and the Sunflower), recorded by Leila Pinheiro, were written by Guinga,
in partnership with Aldir Blanc. The song Ch de panela awarded Guinga the 1996 Sharp Award
for Best Brazilian Popular Song. Guingas complete biography - Guinga, os mais belos acordes do
suburbio (Guinga, the most beautiful chords of the suburbs) - was written in 2002 by the Brazilian
journalist Mario Marques, and published by Editora Gryphus. In 2003, the same editor released
the songbook A msica de Guinga (Guingas Music) at the Bienal do Livro, in Rio de Janeiro.
Guingas sixth CD, Noturno Copacabana, also released in 2003, was acclaimed by the critics.
HUDSON NOGUEIRA (1968)
saxophonist, clarinetist, arranger and composer, Hudson Nogueira studied composition with
Edmundo Villani-Crtes. He was a regular musician at the Banda Sinfnica do Estado de So Paulo
(State of So Paulo Symphonic Band) and also a member of Banda Savana. In 2005 he made various appearances in Japan, where he had the chance to perform his compositions at the Clarinet Fest, taking place in Asia
for the first time. He wrote arrangements for Marvin Stamm, Leila Pinheiro, Beth Carvalho, Nana Caymmi,
Ivan Lins, Jane Duboc, Guilherme Arantes, Toquinho, Gilberto Gil, Moraes Moreira, Sujeito a Guincho, Banda
Savana, Banda Sinfnica Jovem do Estado de So Paulo (State of So Paulo Junior Symphonic Band), Banda
Sinfnica do Estado de So Paulo, Orquestra de Sopros Brasileira (Brazilian Wind Orquestra), Orquestra
Paulista, and Banda Sinfnica da CSN (CSNs Symphonic Band). He composed original works for soloists,
groups and institutions, such as Fernando Dissenha, Dale Underwood, Fred Mills, Paulo Srgio Santos, James
Gourlay, Madeira de Vento, Osland Saxophone Quartet, University of Minnesota, University of Georgia,
University of Central Florida and University of St. Thomas. His arrangements and compositions are present
in more than 20 CDs, recorded both in Brazil and abroad. His works have been performed throughout the
world; some of them have been published by editors such as Wind-Gallery (Japan), Ruh Music (the European
branch of the Barnhouse American editors) and DDP Brazil Music (United States).
Most important compositions: Retratos do Brasil, Milnio, Carnaval de Rua, Senzalas, Maracatus e
Quilombos, Brasileirismos n 1, Sons do Brasil, Miniaturas Brasileiras, Do Corao e da Alma, Virtuoso, As
Quatro Faces do Choro, Um Chorinho pro Adolph Sax, Sax Colossos, Um Chorinho pros Brasszucas, O Rei
do Maracatu, Alegria do Carnaval, Pingo no Choro.
VII Brazilian Music for Band Series Baio de Lacan
ALDIR BLANC MENDES (1946)
carioca (native of Rio de Janeiro) from the Estcio district, Aldir Blanc began to compose
early in adolescence. In the sixties he studied Medicine and, while still a student, he had
several of his songs accepted at various important festivals, such as the Festival Universitrio da
Msica Popular Brasileira (University Festival of Brazilian Popular Music, versions II and III, in
the years 1969 and 1970) and the Festival Internacional da Cano (Brazilian International Song
Festival, versions III and V, in the years 1968 and 1970). In the beginning of the seventies, Aldir
was a member of the Movimento Artstico Universitrio (University Artistic Movement), known as
MAU, along with many of the most promising Brazilian composers of his time: Ivan Lins,
Gonzaguinha, Csar Costa Filho and Marco Aurlio. In that period he met Joo Bosco, who
became one of the most important and constant partners. Elis Regina, a legend in the Brazilian
popular music, recorded their song Bala com Bala in 1971. She would also record Mestre-sala dos
Mares, O Bbado e a Equilibrista, Kid Cavaquinho, De Frente pro Crime, Dois pra L, Dois pra C
and Rancho da Goiabada. Aldir Blanc had an important role in the struggle for securing intellectual rights for creators; he was one of the founders of Sombrs (an entity which supported composers fighting for their intellectual rights) and of SACI, Sociedade do Artista e Compositor
Independente (Society of Independent Artists and Composers). Guinga and Moacir Luz are also
among his partners. In 1996, the Brazilian singer Leila Pinheiro recorded the album Catavento e
Girassol, only with songs composed by Guinga and Aldir Blanc. Specifically with Guinga, Aldir
also wrote Baio de Lacan, Canibaile, Ch de Panela, O Coco do Coco, and many others. Aldir is
also a columnist who maintains a column in Rios newspaper O Dia. In 1996 he released the
anniversary album Aldir Blanc 50 Anos (Aldir Blanc, 50 Years), with the participation of various
special guests. More than 600 of his songs were recorded by many artists, although almost the
same number of original songs, composed with various partners, remain unrecorded.
Brazilian Music for Band Series Baio de Lacan VIII
BAIO DE LACAN
music by Carlos Althier de Souza Lemos (Guinga) lyrics by Aldir Blanc

A terra em transe franze
Racha pela beira
Feito cabao de freira
Solta e l vem um!
Mas o Brasil ainda batuca na ladeira
Bafo, Congo, Exu, Taieira
Mais Cacique e Olodum
Deus salve o budum!
Viva o murundum!
E tuntum, tuntum!
The land in distress wrinkles

Cracks down the edge
Like a nuns hymen
It releases, and there it comes!
But Brazil is still drumming on the hillside
Bafo, Congo, Exu, Taieira
Plus Cacique and Olodum,
God save the budum!
Long live the murundum!
And its tuntum, tuntum!
Eu ouo muito elogio barricada

Procuro as nossa por aqui
No vejo nada
S tomo arroto
E perdigoto no meu molho
Se tento ver mais longe
Tacam o dedo no meu olho
Quem fica na barreira
Pode at ficar roncolho
I hear lots of praise for the barricade

I look for ours around here
I dont see anything
I only take a belch
And partridge in my sauce
If I try to see farther
They stick their finger in my eye
One who stays at the barrier
Could even get castrated
An impresario wanted
Me to go to Massachusetts
OK, my boy!
Um empresrio quis
Que eu fosse a Massachutis
Oqui, mu boy!
Cheguei pra arrebentar e putz!
Voltei sem cala e um quis
me sequestrar...
Ao conferir o saldo,
No vermelho fui parar
T com Joo Ubaldo:
Chega dessa Calcut.
Eu t a mil por a
Atleta do Juqueri
Um scio a mais da Golden Cross
de carteirinha...
Tanto sofri nesse af
Que um seguidor de Lacan
Diagnosticou stress
E me mandou pra roa descansar...
Eu fui pra Limeiro
E encontrei o Paul Simon l
Tentando se proclam
Gerente do mafu...
Se os peo no chi
O Boi Bumb vai virar vaca.
!
I came here to dominate - and wow!

Came back pant-stripped
And someone tried to kidnap me
Checked my balance,
It was red!
I have to agree with Joo Ubaldo:
Enough of this Calcut.
I am frantic all around
A Juqueri athlete
Just one more Golden Cross
registered member
Ive been so damn beated
That one follower of Lacan
Defined my problem as stress
And sent me to the country to rest
So I went to Limeiro
And found Paul Simon there
Trying to prove he was
A native of the place himself
If the cowboys dont complain
The Boi Bumb will turn into a cow!
!
IX Brazilian Music for Band Series Baio de Lacan
Srie Msica Brasileira para Banda
Baio de Lacan
Partitura Completa
Durao aproximada: 3'28"
Piccolo
Flautas 1, 2
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EMI (Edies Musicais Tapajs Ltda.)
EMI (Edies Musicais Tapajs Ltda.)

Funarte Ministrio da Cultura 2008
Funarte, Ministrio da Cultura, 2008
MBB0007 - Baio de Lacan / Todos os direitos reservados - Impresso no Brasil
www.funarte.gov.br / projbandas@funarte.gov.br
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Guinga e Aldir Blanc
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3, 4
1, 2
Tpts. B D
3, 4
21

1
2, 3
"
21
21
Bomb.
"
Tb.
"
21
21
Cb.
"
21
Timp.
Tec.
xilo, bells
Perc. 1, 2
tgl., afx.
pand.
Perc. 3
bat.comp.
"
21

,
,
,
a2
D

G
D D
O
O D
D D
O D
,

crash

O

,

O

O D

O
!
G
O !
O

O
D D
O ,

,

,
O ,

,
O
,
K
O

(
K

(
!

O

!
G
K

!
!

,
O
,
!

!

,

,
!
(
!
O !
O
,
O
,

,

,
O !

,
!
!

,
O
,
O
,

,

,
!
!
trgl. + pand.

,

,

,
O ,
O !

,
,
O !

O ,
O
,

,

,
O !
O !

O ,

,
!

O ,
!

O

,
O
!

,
!

D

O ,
!
!

O ,
,
z
D

O ,
D

O ,

O
O
,
O

D D
,

O
O D

,

,
21
21
21

O
21
D
O

"
Tbns.

O
sempre
tocar
O
,
a2
tocar sempre

D D
21

,
tocar sempre

21
21
2, 3

6
27
Pic.

27
Fls.1, 2
Obs. 1, 2

(Req.)
Cls. B D
28
Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D
3, 4
1

27

!
!

! !
G
27
O ! !

27

!

!

"
Tb.
Cb.
"
27
27
27
"
27

27
27
!

!
!
O
G
!

G!
!
!
!

28
O K

(

O
,

,
,
,
K
O

,
O
,
,
!
!
breque
K
O

,
pizz.

,

,
O ,

,
K
O

O
,

,

,

,
K

(

,

,

,

,

,
K

z
z

,

,

,

,

,
,

,

,
O K

O
,

,

,
K
O

,
O
,
,
K
O

,
O ,

,
K
O

O
,

,

,
z
z

O
,

,
,
somente 2a vez
somente 2a vez
!
O !

,

,

!
!
a2
O

a2
O

O !

! breque
!
tocar sempre
27
,

"
bat.comp.
!

tocar sempre
Bomb.
Perc. 3
!
O

27
tgl., afx.
pand.
!
27
"
Perc. 1, 2
2, 3
xilo, bells
"
Tec.
27
Timp.
27
!

27
Tbns.
27
1, 2
Tpts. B D
27
1, 2
Tpas. F
3, 4
27
Cl. Bx.
!
"
27
2, 3
!
27
Cl. E D
!
27
Fgts. 1, 2
!

!

!
O
! !

,
!
!
O
!
!

,

!
!

,
,
!

,
O

!

,
!
!
,

!
!

O
,
O
!

!
!
!

,

,
,

!
!
z
P P P P P P
trgl.

simile
33
Pic.

33
Fls.1, 2
Obs. 1, 2
33

33
Fgts. 1, 2
Cl. E D
(Req.)
Cls. B D
"
33
Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D

3, 4

1
2, 3
33

33

33
"
33
"
"
Cb.
"
33
33
Perc. 1, 2
tgl., afx.
pand.
Perc. 3
bat.comp.
D
O ,
,
"
33

33
33
O !

O ,

!
!

,

"
xilo, bells

,

Tb.
Tec.
O

,
33
Timp.
33
33
Bomb.

33
Tbns.
33
1, 2
Tpts. B D
33
1, 2
Tpas. F
3, 4

33
Cl. Bx.
a2
33
33
2, 3

,

,
O !
z
O !
!
O
!
O !
!

O !

,
K
O

,
,

O ,

,
K O !

,

,

,
D!
O !
!
z

,

!
!

!

!
!
!
!

G

G !
!
O
G !
z
O
!
O
O O
K
D O
O

!
!

!
!

!
!
!
!

G
breque
,

virada
breque

O ,
O

O

O K
(
K
z
z
z
38
K
O
K
K
O

(
z

,
(Trompas)

(Trompas)

!
!
O
,
!
G

,
!
O
!
O
D O
O
!
!

,
38
O
K
O O

O ,
!
!
O !

,
O !
D O

O !
!
!
O
!
O
O !
!
!

O
G
!
O
O
!
O
D O

z
z
P P P P P P

trgl. + afox

8
Pic.
39
39
Fls.1, 2
Obs. 1, 2
39
39
Fgts. 1, 2
Cl. E D
(Req.)
Cls. B D
2, 3
Cl. Bx.
Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D
"
3, 4
1
39

39

39

"
"
Tb.
"
Cb.
"
Timp.
"
39
39
39

39
Perc. 1, 2
Perc. 3
bat.comp.
39

,

,

O
,
K
O
!

O ,
K
O
K

O ,

,
K

!
O

!
K
O
!
!
O
z
O O O

O O
O

z
!
(
O !
K
O
K
K
O
K

K

K
O
K

K
O

,

,

O
,
z
!
O

!
!
O

!
!
39
tgl., afx.
pand.
K
O
39
"

,

!
O !

K

Bomb.
xilo, bells
K

39
Tec.
39
39
2, 3
O

G
O !

a2
39
39
Tbns.

O ,
39
1, 2
Tpts. B D
a2
tocar sempre

!
39

!
39

39
1, 2
Tpas. F
3, 4

!
!

!

,
!
!
!
K
O
K

,

O
,

,
!

!
!

!

O ,
2

O ,

,
K
K O

(

, ,
z

K
O

(
surdina reta (straigth)
surdina reta (straigth)
z

!
!

,

,
K
O

,

,

O ,
!
!

,
K
O

O !

,
K

,

O ,

!
(
D
!
O
!
z
z
!
(Trompas)
(Trompas)
!
D
!
D
!
O
!

!
!



9
Pic.
45
45
Fls.1, 2
Obs. 1, 2
45
45
Fgts. 1, 2
Cl. E D
(Req.)
Cls. B D
"
D
a2
O D O

,

Cl. Bx.

Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D

45

45

45

3, 4

K
O
2, 3
Bomb.
"
45
Tb.
"
Cb.
"
45
Tec.
xilo, bells
Perc. 1, 2
tgl., afx.
pand.
Perc. 3
bat.comp.
45
45
45
O !
somente 2a vez

,

O
,

O ,
,

!
!

!
!

"

!

,
45
Timp.
!
O
somente 2a vez
somente 2a vez

,
45
45
O !
z

,
O ,
K

!
abrir
abrir
D !
!

!
!
K
(
48
!
O
O
,
!
z
,
O ,

!
!
!
G
virada

!
a2

!
a2
O!

,
K
O

(
K
z
!
O
!
!
!
!
virada
K
K
O

,
K

O

O

! O !
! D !
!
!
D
!
!
D
z
z
!
! O
D
!
!
D
! D !

,
!
!

!
!

P P P P P P
trgl.
O
,
! D !
!
! O
! D!
D

,
! O !
!
(
! breque
!
D O
K

D O
O
!
!
D
z
!
O
!

45
"
z
2
45
K

"
Tbns.

45
1, 2
Tpts. B D
K

O O

O
45
1, 2
Tpas. F
3, 4
O
O O

45

!
O
O
O O
,

45
45
48
D O

K

O

D
a2

O , ,
z
somente 2a vez
a2
45
2, 3
simile

10
51
Pic.

51
Fls.1, 2

51
Obs. 1, 2

Cl. E D
(Req.)
Cls. B D
"

51
51

!
O !
O
51
2, 3
51
Cl. Bx.
Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D

!
O
51

51
1, 2
Tpts. B D

51
3, 4
!
!
O
51

!
(
D
O !

51
1
Tbns.
"
2, 3
Bomb.
"
Tb.
"
Cb.
"
51
51
51
51
Timp.
Tec.
xilo, bells
Perc. 1, 2
tgl., afx.
pand.
Perc. 3
bat.comp.
"
51

51
51
O !
D!
!
D
!
! O

z

!

a2
!

G
!
!

!
O
D
G
G
a2
!
! O

tocar sempre
O
D
!

D!
D!
!
!
!
! O ! O
!
!
!
!
!
D
!
O
!
!
O
D! !

O !
!
O
!
!
!
! D !

! !
O
O O !
! !
O
,
1.
,
! !

!
!

!
!
!
D
!
!
D
!

10
D
G!

!
!
O
!
! O
!
O
O !

! O !
! !

!
!
O O
Gsomente 2a vez
D!
somente 2a!vez
!
!
O D
z

!
!

!
O !
! O
!
O
!
!
O
!
!
!
O
D
!
!
D

z

,
(
! ! !

virada
! D
D
O O ! ! O O
O !
!
O D
! !
! D !
!
D!
O
,
!
(
51
"
51
51
1, 2
Tpas. F
3, 4
a2
51
Fgts. 1, 2
!
D
z
z
!
!
O
O O ! ! O O

!
D O !
! D O
D
G!
!
O
! D
GD!
O
!
! D
D
!
arco
!

!
O
! D
z
!

crash
11
Pic.
Fls.1, 2
@
,
57
57
@
,
Obs. 1, 2
@
,
Fgts. 1, 2
" O @
,
57
57
Cl. E D
(Req.)
Cls. B D
2, 3
Cl. Bx.
Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D
57
@

,
57
O
,
K

K
57

a2
K
a2
K
@
,
57
1, 2
Tpts. B D
3, 4
57
"
2, 3
"
Bomb.
"
Tbns.
57
57
57
Tb.
"
57
Cb.
"
57
Timp.
Tec.
xilo, bells
Perc. 1, 2
tgl., afx.
pand.
Perc. 3
bat.comp.
"
57

57
57
@
,
@
,

K
(
O
,
K
K

59

(Trompas)
O !
O !

O
!
O
!
K

K
K

K

K

O
!
O
!
z
!
D
(Trompas)
!
D

!
D !

!
O
!
!
!

K
O
W
O K
GW
@

,
breque
!
(
pizz.
!

(
O K

O !

!
!
O
!
O !

,
O
,
2
2

!
!
D
,

,

!
!

!
!
z
prato de conduo (ride)
11
P P P P P P
O !
K

trgl. + pand.
a2

K
D
,
a2
O
,
O !
K
K

O
!
O
!
D !
O
O ,

,
K
breque

57
K

D
,
57
somente 2a vez

O @

, ,
G
57

z

K
57
z
G

D
,
57
somente 2a vez

@

, ,
57
1, 2
Tpas. F
3, 4
59


12
63
Pic.

63
Fls.1, 2

63
Obs. 1, 2

z
O
Cl. E D
(Req.)
Cls. B D

63

63
Cl. Bx.
Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D
1, 2
Tpas. F
3, 4

1, 2

63

2, 3
63
63
Tb.
"
Cb.
"
Timp.
"
63
63
63
Perc. 1, 2
Perc. 3
tgl., afx.
pand.
bat.comp.
63

O ,

,

!
!

!
!

!
!

!
tocar sempre
! ! !
,
G
K
O
G! ! !
O ! ! !
,
tocar sempre

!
!
!
,
!
,

!
!
D

!
!
!
O
,
67

O

D
O
!
O !

O!

!
!

2.
O

!
!
,
K
K

!

!
z
K
!
!

!
!

O ,
!

K

,
K

O !
!
O
O

!
O

!
tocar sempre
K
!
O
D !
tocar sempre
!
D
(Trompas)

O
O ,
K
O
O
,
1.
O

!
!
D
K

(

O ,
(
D
,
!
D
O !

K
! !
O
!
D D
! !

!
!

tocar sempre
O

!
D

O ,
O

!
D
,
! !

D
tocar sempre
O K
!
O !
,
K

! !
!
K O

"
63
K
O
(

,
K
O

K

(
O !
,
!
,
O K

O
O
!
O
!

O
!
63
O !

"
xilo, bells
!

"
Tec.
63
Bomb.
O
,
63
Tbns.
63

,
!
O
63

63
3, 4
K
O
(
63
Tpts. B D
,
K
O

O !
D
63
O !
D
"
63
2, 3
!
D
somente 2a vez
63
Fgts. 1, 2
D!

67
O
,
!
!
O
!

O ,

!
D !
G
O !
G

!

!
D !


12

70
Pic.
Fls.1, 2
Obs. 1, 2
70
70

70
Fgts. 1, 2
Cl. E D
(Req.)
Cls. B D
"
O !

Cl. Bx.
O !
D
!
O
D
,
Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D
1, 2
Tpts. B D
3, 4
70

70

70

Tbns.
"
70
"
Bomb.
"
70
70
"
70
Cb.
"
Timp.
"
70
Tec.
xilo, bells
70

70
Perc. 1, 2
Perc. 3
tgl., afx.
pand.
bat.comp.
70
K
K
O
O

2, 3
Tb.
O
,
O

!
!
z
O !

O !

O

!
!
!
!
K

!
!
,

O D !
O
D
O !
K
!
D !
O
D O

@
O O
,
K

!
G
K
z
z
z
z
z
z
z
!

,
G
K
G!
breque
breque

!
O ,
!

,
G
tocar!
sempre
,
G

!
,
tocar sempre
K

G!

K

!
G
arco

!
,

,
O @
,
!
O ,
tocar sempre
!
O
,
!
,
K

K

K
O

,
O @
,

,
@
K
W
tocar sempre
O D !
D
virada
13
breque
,
D!
,
K
O !
O K
!
O K
!
z
O !

!
!
O D
D
! !

!
O
!
!
O
!
O
!
!
!
O
O O

!
,
O !
D D
O !
O !

!
!

!
!
O

13
!
,
!
somente 2a vez
D O D
O
O
!
!
O
K

!
!

O
O
!
O !
70

O O !

70
K

somente 2a vez

70
!
O

O

70
1, 2
Tpas. F
3, 4
O

!
70

O !

!
O
70
70
O !

70
2, 3
!
O

virada

14
76
Pic.
Fls.1, 2
Obs. 1, 2
76
76

76
Fgts. 1, 2
Cl. E D
(Req.)
Cls. B D
"
76

tocar
tocar
z
O

! !
!
W
!
!
76
!

Cl. Bx.
Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D

76
76

76

3, 4
2, 3
"
Bomb.
"
76
76
Tb.
"
76
xilo, bells
76

76
Perc. 1, 2
Perc. 3
tgl., afx.
pand.
bat.comp.
! !
! !
O
76
Timp.
Tec.
76

! !
K
z
z
!
!
GW
!
!
W
G
! ! @
G
K
O
D
! !
!
!
! O !

K D
D !
! D !
!
D O D
O
D O

14
! !

G
!
!

O

O
! !
O D
O
!
O O !
!
!

O ! !

!
!

! O
!

! O !
D O
! ! O
! ! O
!
!
! !

! !

!
O O ! O O ! !

! ! !
O D
D O ! ! D O
D
! !
!
! !
O D
! !
O
D!
!
!
O ! ! D
!
D ! O D @
! ! !

! !

breque

z
W
O K
tocar
!
K
O
! !

! !
! !
! !
K

K
!
D! ! !
!
!
!
O ! O O !

D O D !
!
! O ! !
K
O ! ! O !
O ,
O K
breque

! !

,
! !

K
! ! !
! !
@
O ,
! ! !
O D ! ! D D

O
!
!
! !
!
O O D
D!
!
!
! !

K
O
tocar

,
O ! !
O
D ,
@ O @
,
@
,
s um

,
tocar
!
! !
D O

K

@ O @
,
@
,
! !
D
,
! ! !
! !
O O ! ! O O ! !

O !
W
!
@
O
,
! !
!
! !
O O
D
O ! D
!

,
! !
! ! !

O ,
O @
,
@
,
D @
,
! O ! @
D
D @ a!2 D !
D O
,
! W
!
@K
! !
"
76
Cb.

! !
"
! !

1
Tbns.
! W
!
76
"
! O ! @
! O ! @
! !

76

76
1, 2
Tpts. B D

76
1, 2
Tpas. F
3, 4
! !
! !

76
! ! @
tocar
76
2, 3

,
D
! !
!
crash
! !
O D
! !

! !

! !
z
! !

84
Pic.
Fls.1, 2
Obs. 1, 2
84
84

84
Fgts. 1, 2
Cl. E D
(Req.)
Cls. B D
"

84

84
Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D
3, 4

84
84

84

2, 3
Bomb.
"
84
84
O !

!
2 !

O
!
!

!
!
O
84

!
84
!
Tb.
"
Cb.
"
Timp.
"
84
84

84
Perc. 1, 2
Perc. 3
bat.comp.
!
84
"
tgl., afx.
pand.
!
!

xilo, bells
O
!
!

O

!
!
z
!
84
Tec.
!
"
Tbns.
!

84
1, 2
Tpts. B D
84
1, 2
Tpas. F
3, 4
!
!

84
Cl. Bx.

84
2, 3
15
!
84

!

!
!

O

!
!

!

O !

!

!
O!

G
!
!
z
z
a2
a2
D!
O
!
G!
z
!
!
G
z
z

!
! a 2 !
D O D
D D O O
D D O D
D D O
D D O D
D D O
z
z
z
O

!
O

!
O

!
! !
D O
! !
O ! !
! !
D D
D! !
O
D! !
! !
O
D !
D! !
D! !
breque

15
z
z

!
O
!
!

z
!

z
z

16
90
Pic.

90
Fls.1, 2
Obs. 1, 2

(Req.)
Cls. B D
!
!
!
!
D
"
!
O
D!
90
!

90
Cl. E D
90
Fgts. 1, 2
!
Sxa. E D 1, 2
Sxt. B D
Sx.bar. E D
3, 4
D!
!
O
!
!

90
90

90
2, 3
Bomb.
"
!

!
D
D
!
O
O !

"
Timp.
"
90
90
Perc. 3
90

!
O !
!
!

!

!
O
!

!

!

O !
!
D
!
D
!
D!
D
!
!

90
Perc. 1, 2
O !
!
O
90
Cb.
O !
"
D!
90
90
bat.comp.
!
90
tgl., afx.
pand.

D
!
"
xilo, bells
!
O
90
Tec.
!
O O !
90
Tb.
!
"
Tbns.
O D !
!
90
1, 2
Tpts. B D
!

O !
O
90
1, 2
Tpas. F
3, 4
O !

90
Cl. Bx.
!

!
90
90
2, 3
!
O
!
!
O
O
!
!
O O
!
!
O O !
!
crash

D D
! O O
!
!

O

O
D
!
!
O

D O
!

!

O

O

!
O O
!
!

D O
!
O
D
O !
D
!
O
D
z
!
!

O
D O !
z
!

!


breque
16
!
O
G
O !
!
!
O
z
!
O
O !
1.
!
O
G
G
1.
!
O @
!
O
!
!
O
!
O @
!
!
O
O !
W
W
W
!
!
EDIES
FUNARTE
PARTITURAS
ANDAS
FUNARTE
S EDITIONS
OFDE
MUSIC
SCORESPARA
FOR BANDS
1995
Golden Repertoire of
Brazilian Bands
Antnio do Esprito Santo
Avante Camaradas / Dobrado 220
Gilberto Gagliardi
Cidade de Diadema (dobrado)
Joaquim Naegele
Mo de Luva (dobrado)
Silvestre Pereira de Oliveira
Amor de um Pai (dobrado)
Antnio Pedro Dantas (Tonheca Dantas)
A Desfolhar Saudades (valsa)
Francisco Manuel da Silva/Joaquim Osrio Duque Estrada

Hino Nacional do Brasil
2008
Brazilian Bands
Anacleto de Medeiros
Jubileu (dobrado)
Francisco Braga
Baro do Rio Branco (dobrado)
Joaquim Naegele
Professor Celso Woltzenlogel (dobrado)
Joaquim Naegele
Estrela de Friburgo (polka for solo trumpet and band)
2000
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Avante Camaradas
Dobrado 220 (dobrado) * reissue
Anacleto de Medeiros
Os Bomios (Brazilian tango)
Ceciliano de Carvalho
Dever do Mestre (dobrado)
Jos Genuno da Rocha

Testa de Ao (frevo)
Gilberto Gagliardi
Cidade de Diadema (dobrado) * reissue
Pedro Salgado
Dois Coraes (dobrado)
Joo Firmino de Moura

Saudades de onde Nasci (valsa)
Hymns of Brazil
D. Pedro I/ Evaristo da Veiga
Hino da Independncia
Joo Trajano da Silva

Janaina (ciranda)
Joaquim Naegele
Mo de Luva (dobrado) * reissue
Jos Aniceto de Almeida
Ceclia Cavalcanti (valsa)
Jos Barbosa de Brito
Bento Barbosa de Brito (dobrado)
Levino Ferreira da Silva
Lgrimas de Folio (frevo)
Luiz Fernando da Costa
Archanjo Soares do Nascimento (dobrado)
Manoel Ferreira Lima
Diana no Frevo (frevo)
Manoel Rodrigues da Silva
Dengoso (choro)
Severino Ramos
Tubas de Papelo (dobrado)
Silvestre Pereira de Oliveira
Amor de um Pai (dobrado) * reissue
2004 e 2008
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Francisco Braga/Olavo Bilac
Hino Bandeira Nacional
Joaquim Naegele
Ouro Negro (dobrado)
Leopoldo Miguez / Medeiros e Albuquerque

Hino da Proclamao da Repblica
Brazilian Music for Bands
Edu Lobo/Capinam
Ponteio (baio; arrangement by Hudson Nogueira)
Guinga / Aldir Blanc
Baio de Lacan (choro; arrangement by Hudson Nogueira)
Hermeto Paschoal
Beb (baio; arrangement by Hudson Nogueira)
Noel Rosa
Palpite Infeliz (samba; arrangement by: Hudson Nogueira)
Hudson Nogueira
Quatro Danas Brasileiras (samba, maxixe, marcha-rancho, choro)
Ivan Lins / Vitor Martins
Novo Tempo (arrangement by Hudson Nogueira)
Carlos Alberto Braga (Braguinha) / Alberto Ribeiro
Copacabana (samba; arrangement by Jos Carlos Ligiro)
Jos Ursicino da Silva (Mestre Duda)
Sute Nordestina (baio, serenata, maracatu, frevo)
Jos Ursicino da Silva (Mestre Duda)
Sute Pernambucana de Bolso (caboclinhos, serenata, cco, frevo)
Nelson Cavaquinho/Guilherme de Brito
Folhas secas (samba; arrangement by Hudson Nogueira)
Patrocnio
Realizao

2 Baiao de Lacan Full Score

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BRAZILIAN MUSIC FOR BAND SERIES

Carlos Althier Escobar

PRESIDENT OF THE FEDERATIVE REPUBLIC OF BRAZIL

BRAZILIAN MUSIC FOR BAND SERIES

Carlos Althier Escobar

SCORES FOR BAND PUBLISHING PROJECT

T ECHNICAL DIRECTION , ADAPTATION, REVISION

CONSULTING FLEXIBLE INSTRUMENTATION /ARRANGEMENTS

Fundao Nacional de Artes Funarte

BAND REPERTOIRE OF YESTERDAY, TODAY, AND OF ALL TIMES

III Brazilian Music for Band Series Baio de Lacan

ABOUT THE NEW EDITIONS

BRAZILIAN MUSIC FOR BAND SERIES

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

Optional instruments, originally intended by the composer or arranger, are included in

Brazilian Music for Band Series Baio de Lacan IV

*Bb bass clarinet

Note to the Director

Brazilian Music for Band Series Baio de Lacan

Brazilian Music for Band Series Baio de Lacan VI

CARLOS ALTHIER DE SOUZA LEMOS ESCOBAR GUINGA (1950)

HUDSON NOGUEIRA (1968)

ALDIR BLANC MENDES (1946)

Brazilian Music for Band Series Baio de Lacan VIII

music by Carlos Althier de Souza Lemos (Guinga) lyrics by Aldir Blanc

The land in distress wrinkles

Eu ouo muito elogio barricada

I hear lots of praise for the barricade

I came here to dominate - and wow!

IX Brazilian Music for Band Series Baio de Lacan

Srie Msica Brasileira para Banda

EMI (Edies Musicais Tapajs Ltda.)

EMI (Edies Musicais Tapajs Ltda.)

Guinga e Aldir Blanc

arranjo: Hudson Nogueira

Allegro Moderato (R90)

FUNARTE Ministrio da Cultura

Srie Msica Brasileira para Banda Baio de Lacan

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

surdina reta (straigth)

surdina reta (straigth)

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

prato de conduo (ride)

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

FUNARTE Ministrio da Cultura

Francisco Manuel da Silva/Joaquim Osrio Duque Estrada

Jos Genuno da Rocha

Joo Firmino de Moura

Joo Trajano da Silva

Leopoldo Miguez / Medeiros e Albuquerque

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