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Sumrio/Sumary

Breve Biografia............................................................................................................1
Sobre as partituras..................................................................................................... 2
A short biography.........................................................................................................3
About the scores..........................................................................................................4
Levadas (choro, maxixe, valsa...)................................................................................5
Grooves (choro, maxixe, valsa...)................................................................................8

Msicas/Tunes

Acariciando.................................................................................................................11
Andr de sapato novo................................................................................................12
Apanhei-te cavaquinho...............................................................................................13
As rosas no falam.....................................................................................................14
Assanhado..................................................................................................................15
Atlntico......................................................................................................................16
Atraente......................................................................................................................17
Carinhoso...................................................................................................................18
Chorando Baixinho.....................................................................................................19
Cochichando...............................................................................................................20
Encabulado.................................................................................................................21
Entre mil... voc!.........................................................................................................22

ALESSANDRO PENEZZI
Breve biografia
Natural de Piracicaba (SP), violonista, compositor e arranjador, estuda msica desde os sete anos. Toca
tambm violo tenor, violo de 7 cordas, cavaquinho e bandolim, alm de flauta e pandeiro.
Formado em Msica pela Universidade Estadual de Campinas (Unicamp), Alessandro possui experincia de
mais de vinte anos como professor. Realizou diversos Workshops e Oficinas em vrios festivais, como
California Brazil Camp (EUA), Choro Jazz Jericoacoara (CE), Tatu (SP), Ourinhos (SP), Itaja (SC), Pouso
Alegre (MG) e vrios outros.
Tambm j publicou vrios artigos em revistas especializadas em violo, como Guitar Player, Acstico e
Violo PRO, que esto disponveis para download em seu site, www.alessandropenezzi.com
Alessandro realizou concertos em vrios pases, como Estados Unidos, Rssia, Itlia, Marrocos, Argentina,
Uruguai, Alemanha, Angola, Dinamarca, Holanda, Blgica, Macednia e Espanha.
J se apresentou e gravou ao lado de grandes cantores e instrumentistas, como Dominguinhos, Yamandu
Costa, Hermeto Paschoal, Proveta, Hamilton de Holanda, Zimbo Trio, Beth Carvalho, Toninho Ferragutti e
Danilo Brito, entre outros.
Seus discos sempre contam com bons elogios da crtica e com indicaes a prmios, a exemplo do Prmio
TIM e do Prmio da Msica Brasileira.
Mais informaes: www.alessandropenezzi.com
Discografia
2001 Abismo de rosas (1 CD solo)
2002 A quintessncia da msica (com Trio Quintessncia)
2004 Baba de calango (com Grupo Choro Rasgado)
2005 Violes do Brasil
2006 Alessandro Penezzi (2 CD solo)
2007 Larcio de Freitas homenageia Jacob do Bandolim Convidado especial: Alessandro Penezzi
2008 Sentindo (3 CD solo)
2009 DVD Sentindo (gravado ao vivo no SESC Paulista)
2010 Cordas ao Vento (duo com Alexandre Ribeiro)
2012 - Ao Vivo na Bimhuis - Amsterd

Sobre as partituras
Ol pessoal!
Este lbum composto por partituras de acompanhamento que trazem a melodia,
harmonia, breques, convenes e as baixarias para doze choros conhecidos.
O que so baixarias?
Baixarias so as frases meldicas feitas pelos baixos do violo de 7 cordas. Tambm
chamadas de contra-pontos ou linhas de baixos, elas so melodias secundrias, isto ,
devem apoiar e conduzir a melodia principal.
Originalmente elas eram feitas por instrumentos de registro grave como Oficleide, Tuba,
Bombardino, Piano ou Sax tenor, porm outros instrumentos tambm podem realiz-las.
A partir de agora, sempre nos reportaremos s linhas de baixo como: Baixarias
As Baixarias transcritas nesse lbum foram criadas por mim e seguem o padro do Choro
tradicional.
O estilo de acompanhamento do violo de 7 cordas possui uma textura intrincada,
composta de levadas e baixarias que se intercalam constantemente para dar suporte ao
solista, que quem executa a melodia principal. O equilbrio entre levada e baixaria deve
ser a meta do violonista de 7 cordas. Um timo exerccio ouvir muitas gravaes dos
mestres como: Dino 7 cordas, Raphael Rabello, Waldir e Walter Silva, Luizinho, Z
Barbeiro, Israel Almeida, Edmilson Capellupi, Rogrio Caetano, entre outros.
As baixarias so tocadas pelo polegar (de preferncia com apoio) e as levadas, ou acordes
puxados, com os dedos indicador, mdio e anular (sem apoio).
No costume transcrever as levadas na partitura, o que causaria uma grande poluio
visual na mesma. Porm abaixo seguem as explicaes necessrias sobre cada levada.
Obs: As levadas se aplicam para violo de 7 e 6 cordas, o contrabaixo pode se preocupar
somente com as Baixarias.

3
&4

Am

Dm

Levadas
Dm

3


J #

compasso de Choro binrio e sua levada bsica composta


um

e Mdios)

Choro
& 4 (Lentos
O

j
#

Am

E7/G#

E7/G#

42

42

baixo (q) e uma

sncopa (QAAS ZA I) por tempo:

2 Am
&4

Escrito:

E7

Execuo:

2
&
4

Sempre que os baixos durarem 2 tempos (h), 1 tempo (q) ou 3/4 de tempo(e.), deve-se
inserir a levada, que composta de uma sncopa (QAAS ZA I) por tempo. Os demais valores (e
x

...) sero considerados baixarias, portanto no necessitam de levada.

Exemplo:

2
&4

Escrito:

Am

E7/B

Execuo:

2
&
4

Am/C

Dm

A7/E

Dm/F

E7/B

E7


#
n

Maxixe
&

A levada de maxixe e a de choro so bastante semelhantes e podem ser intercambiadas.


A levada de maxixe tambm pode ser utilizada para o Tango Brasileiro.

&


&

II

Dm

A7/E

Dm/F

43


&
2

Escrito:

Dm

A7/E

Dm/F

&

Execuo:

Escrito/Written:
variao:

Am

E7

Execuo/Execution:


&

&

Choros Rpidos e Samba-Choros

trata-se
de
umchoroao estilo
dePixinguinha,
Benedito
Lacerda,
Nelson

Em
geral, quando
&
antecipao/
anticipation

Alves, Mrio lvares, e outros compositores pioneiros, a levada pode ser assim:

Escrito/Written:
E7
Am
&

&


Escrito/Written:
&
Execuo/Execution:
Am
E7/B
Am/C
2

# # #
& 4
#

antecipao/
anticipation

Dm

A7/E

Dm/F

E7/B

E7

Execuo/Execution:

samba, como
ao estilo de Jacob
Porm, em se tratando
com
de choros
influncia do
do

2 #

&
4
#

Carrilho,
an levada
Bandolim,
Garoto,
Waldir Azevedo,
mais
Dm
A7/E
Dm/F
Altamiro
# entre outros,

apropriada seria:


3
Escrito/Written:

&


#

&
&

Escrito/Written:

Am

Execuo/Execution:
Am
E7

E7

Dm/F

variao/variation
Dm A7/E

43

#
#
n

&

43

Execuo/Execution:

antecipao/
anticipation

Amprimeira
E7/G#
&aEscrito/Written:
Note
semelhana
entre essas duas levadas.
o 1o compasso
da
Dm Ritmicamente,
Am
3

3
j preciso tomar cuidado para no se
levada
& 4 o 2o compasso da segunda e vice-versa.

#
Execuo/Execution:

3
&
4

42

2
4

2
& 4


#
3

#
n

invertera ordem desses dois compassos. A mesma levada deve ser mantida at o final do

&

choro. Se ocorrer a inverso das levadas, diz-se que o msico est tocando no contra, o
que consiste num erro.

&

Freqentemente a clula rtmica est presente na melodia do choro.

No obstante, a prpria melodia do choro pode ajudar na escolha de uma levada ou outra.

Valsas


&

Escrito:

Am

Am

E7

E7

Dm

A7/E

Dm/F

As valsas possuem compasso ternrio (3/4), possuem uma levada bsica bastante simples:

Execuo:

43

3tempos
# (h)
ou
3/2 de tempo(q.),
inserir
a levada.4
# (h.), 2 tempos
n deve-se
os baixos
durarem
&

um baixo no 1o tempo (h.) e duas puxadas


de acorde

nos tempos 2 e 3(q q).


Sempre que

Os demais valores (e x ...) sero considerados


baixarias, portanto no necessitam de levada.
3
&4

O ltimo acorde
antecipado

Escrito:

Dm

Am

Execuo:

3
& 4

E7/G#

j
#

Um abrao!
Alessandro Penezzi

Am




J #

Qualquer dvida, escreva-me: alessandropenezzi@gmail.com

42

42

ALESSANDRO PENEZZI
A short biography
Born in Piracicaba (So Paulo), guitarist, composer and arranger Alessandro Penezzi has been studying
music since the age of seven. He also plays tenor guitar, 7-string guitar, cavaquinho and mandolin, as well as
flute and pandeiro.
Penezzi has received a degree in Music from UNICAMP and has over twenty years of experience as a teacher.
He has conducted numerous workshops in music festivals, such as the California Brazil Camp (USA), Choro
Jazz Jericoacoara (Cear), Itaja (Santa Catarina), Pouso Alegre (Minas Gerais), Tatu and Ourinhos (both in
So Paulo), and many others.
He has also written several articles in guitar magazines like Guitar Player, Acstico and Violo PRO, which are
available for download free of charge at his website, www.alessandropenezzi.com
Penezzi has performed in a number of countries, including the United States, Russia, Italy, Morocco,
Argentina, Uruguay, Germany, Angola, Denmark, the Netherlands, Belgium, Macedonia, and Spain.
Hes played and recorded along with celebrated Brazilian artists such as Dominguinhos, Yamandu Costa,
Hermeto Pascoal, Proveta, Hamilton de Holanda, Zimbo Trio, Beth Carvalho, Toninho Ferragutti and Danilo
Brito, among many others.
His records have always been given remarkable specialized reviews and are often nominated for awards
including TIM, Prmio da Msica Brasileira, and the like.
For further information, please visit www.alessandropenezzi.com
Discography
2001 Abismo de rosas (1st solo CD)
2002 A quintessncia da msica (with Trio Quintessncia)
2004 Baba de calango (with Grupo Choro Rasgado)
2005 Violes do Brasil
2006 Alessandro Penezzi (2nd solo CD)
2007 Larcio de Freitas homenageia Jacob do Bandolim feat. special guest Alessandro Penezzi
2008 Sentindo (3rd solo CD)
2009 Sentindo DVD (recorded live at SESC Paulista)
2010 Cordas ao Vento (in duet with Alexandre Ribeiro)
2012 - Live at Bimhuis - Amsterdam

About the scores


Hi people!
This album consists of scores with melody, rhythm changes, and Baixarias (7-string
guitar bass lines) for twelve well-known Choros. What are baixarias?
Baixarias are the bass lines of the 7-string guitar. Also called counter-points, these
bass lines are secondary melodies, that is,they must support and guide the main
melody.
Originally they were played by lower register instruments like Ophicleide, Tuba,
Euphonium, Piano and Tenor Sax, but other instruments can also play them. From now
on, we will always refer to the bass lines as baixarias.
All these Baixarias were created by me and follow the traditional style of Choro.
The accompaniment style of the 7-string guitar has an intricate texture, composed of
grooves and baixarias that are constantly interspersed to support the soloist, who
performs the main melody. The balance between groove and baixaria should be the
goal of a 7-string guitarist. A good exercise is to listen to many recordings of the
masters as: Dino 7 cordas, Raphael Rabello, Waldir and Walter Silva, Luizinho 7
cordas, Z Barbeiro, Israel Almeida, Edmilson Capellupi, Rogrio Caetano, among
others.
The baixarias should be played with the thumb (preferably with the rest-stroke
[apoyando]) and the grooves with the index finger, middle and ring fingers (freestroke [tirando]).
It is not customary to transcribe grooves in the score, because it causes visual
pollution (confusion) in it. But provided below arethe necessary explanations about
each groove. Obs.: The grooves should be played by the guitars (7 and 6-string). The
bass can only be concerned with the baixarias.

3
&4

Escrito/Written:

Dm

Am

Grooves
j

E7/G#

Am

42

Choro
(slow and medium)
Execuo/Execution:

3


42
&
4
Choros bar is binary (2/4)


J groove
The
its basic
and

# has onebass (q)and


one syncopation
(QAAS ZA I) for each beat:

2 Am
&4

Escrito/Written:

E7

Execuo/Execution:

2
& 4

When the bass last 2 beats

(h),

1 beat

(q)

or 3/4 beat

(e.),

we must insert the groove. The

other notes values (e x. ) will be considered baixarias, therefore they will not have groove.
Example:

2
&4

2
& 4

Escrito/Written:

Am

E7/B

Am/C

Dm

A7/E

Dm

A7/E

Dm/F

Execuo/Execution:

Am
&
Maxixe

Escrito/Written:

E7

Am

E7/B

E7

Dm/F

E7


#
n

43

The Maxixes
groove and Choros groove
are very similar and they can be interchanged.
antecipao/
Execuo/Execution:


& #

# n#

The Maxixes
can
for
Brasileiro.
groove

be used
the Tango

also

Escrito/Written:

Am

anticipation

Dm

E7/G#

Am

43


&

&

Escrito/Written:

Dm

&&

# # #

antecipao/
anticipation

A7/E

Dm/F

Execuo/Execution:

Escrito/Written:
variao/variation

Choros and Samba-Choros


Fast

E7

Am

antecipao/
anticipation

Execuo/Execution:

& #
&

Usually,
in the case of fast Choros by Pixinguinha,
Benedito Lacerda, Nelson Alves, Mario

lvares, and other composers of pioneering style, the groove can be like this:

&



&&
Escrito/Written:

Escrito/Written:

Am

E7

Dm

E7/B
2
&&4
&
n

#
## #
#

Am

E7/B

Am/C

Execuo/Execution:

antecipao/
anticipation

Execuo/Execution:

A7/E

Dm/F

E7

the best groove

Bandolim,Dm
Garoto,
Waldir
Azevedo,
Altamiro
Carrilho,
among
others,

Dm/F#
A7/E

2
&
4

However, in the case of Choro with the influence of samba, as the style of Jacob do

&

Escrito/Written:

would be this:


&
&

Escrito/Written:

Am

&

E7

Execuo/Execution:

&

&

3
&4

Escrito/Written:

Dm

antecipao/
anticipation

Dm

Am

variao/variation

E7

Am

Execuo/Execution:

A7/E

#
n

E7/G#

j
#

Dm/F

Am

Note the similarity between these two grooves. Rhythmically, the first bar of the first
groove is the second bar of the second groove and viceversa. However, we should to hold
the same groove until the end of Choro. We can never alternate between the two grooves
because, if this happens we will playing "on the counter-time," which is a mistake.
Escrito/Written:
Nevertheless,
the main melody of Choro may help in choosing one or another groove.

Often
3
the rhythmic cell may be present in the main melody.

& 42

Am

E7/B

Am/C

Dm

Execuo/Execution:
Waltzes

2
&
4

Dm/F

A7/E

3 groove:
The waltzes have ternary bar (3/4) and a very simple


&

E7/B

E7

#
n

When the
bass last
3 beats (h.), 2 beats
(h) ou 3/2 beat (q.), we must insert the groove.

43

groove.
values
#(e x. ) will
beconsidered
therefore
other

& notes
# baixarias,
n# theywill nothave

43

3
&4

42

Escrito/Written:

Dm/Fand third beats (q q).


Dm on
A7/Ethe second
One bassAm
on the E7
first beatAm
(h.) and E7
two pulled chords

Execuo/Execution:
When the
bass last 2 beats (h), 1 beatantecipao/
(q) or 3/4 beat (e.), we must insert the groove. The
anticipation

Escrito/Written:

Dm

Am

E7/G#

j
#

3
& 4

Am




J #

Execuo/Execution:

2 Am
&4

42

Escrito/Written:
Any doubts?
Write to me: alessandropenezzi@gmail.com

E7

Alessandro Penezzi

Execuo/Execution:

2
&
4

11

Acariciando
choro
Baixarias: Alessandro Penezzi

Abel Fereira

%F

Ab dim Ddim F

7 cordas =========================
l
& 4 _ n_ b_ __ __ __ l l __ _ _ __ l b__ __ l __ __ __ _ l _ n_ =
_
b

_ __ _
__ _ .
Ab dim C7/G

Am7

Dm7

Gm7

C7

C7

l
===========================
& b __ _ n _ b_ __ l b__ __ l __ __ __ __ __ l __ __ __ __ __ __ __ __ l __ ! __ __ =
_

__
__ _ _ __ _ _ __ __ __ _ __ _
6

E7

E7/D

Am/C

E7/G#

Am

E7/D

E7

Am

Ab dim

===========================
& b __ __ l __ _ n_ l __ ! _ n_ __ l __ n_ __ __ __ l __ __ l __ . __ b__ =l
_ __
#
_ b_ __ _
__
11

Ab dim

l
===========================
& __ __ __ __ __ _ l __ _ n_ b_ __ l b__ __ __ __ n_ l _ l _ _ __=
_
_
_ _ __ __
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fi F
F
Ab dim
C
A
Dm
22

===========================
& b __ __ __ __ __ __ l b__ n_ _ b_ __ l l __ __ __ __ _ l #_ _ __ __ __ __ { __ __ __ __ =
l
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17

Gm7

C7

Bdim

C7

Ab dim


===========================
& b j
l b__ ! _ n__ b__ l __ __ __ __ __ l __ __ l _ _ __=l

#__ _ __ __ _
27

Dm/F

Ab dim

Gm6

A7

Cm/Eb

Dm

Dm

D7/F# D7

Gm

l
===========================
& b__ __ __ __ n_ l #_ __ __ __ __ l __ __ _ _ __ __ l __ __ l __ __ __ __ _ =

_ _ b_ .
#_ __
#_
__ _
32

Em7(b5)/Bb

A7

Bb 7



{
===========================
& b __ l __ ! __ __ __ l _ __ l __ #_ l #_ _ __ __ __ =
_

#
_ __
_
__
_
37

A7

1.

Dm

C# 7

A7

fi Coda


===========================
& b n_ __ __ l __ __ __ __ l __ __ __ _ _ __ __ __ l l __ __ _ n_ _ l __ __ __ =

_ __ _
__ __ _
#__ __ . __ #__ . __ __ _
42

2. E7/B A7

Dm

C7

D.S. al Coda

www.alessandropenezzi.com

C7

12

Andr de sapato novo


choro

Baixarias: Alessandro Penezzi

D7/F#

Andr Vitor Correa

b2 U
b
7 cordas =========================
l
_ _ _ l _ _ _ l _ _ _ _ l _ _ =
& 4 __
{
l __
_
_

_
_

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_
_

_
_
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D7

Gm

Gm

D7/F#

b
U
b

l =l

_ _ _ _ _ _ l _ _ l _
===========================
&
l
l
_ _ _ __ __ #___ ___ ___ ___
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7

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b
U
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b

l l
===========================
&
{ __ ! __ __ =
__ __ ___ ___ ___ l ___ ___ l ___ _ _ __ __ l #___ ___ l l __ ___
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__ _ n__
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_
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13

G7

Gm

F7/Eb Bb /D

D7/F

Gm/D

2. Gm

1. Gm

D7

Bb /D

F7 F7/Eb

Bb /D

b
b
_ _ _ l _ ! _ _ #_ l ! _ _ _ l _ _ _ l _ _ _ _ _ _=
l
===========================
& { __ __ __ l __
_

___ __ n__ __ __ . ___ ___ _ _ __ n__ ___


_ _ . __ __ ! _
19

F7

F7/C

A7/C#

Bb /D

Bb /D

Bb 7/Ab

b
b
_ _ l _ _ _ _ _ _ l _ _ _ l _ _ _ _ l _ ! _ _ #_ l _ _ _ _ =

_
===========================
&

_ b_ . __ l
___
_ . ___ ___ n__ __ _ ___ b___ ___ __ . ___ ___ ! _ n
#

25

Dm

Eb /G

Eb

F7/C

Bb /D

F7/C

1. Bb

2. Bb

D.S. al Coda
b

===========================
&
__ . __ ___ ___ l ___ __ n_ l n ___ l l _
___ ___ ___ { ___ =l
. _
_ n
_u

fiCoda
31

G7

Bb A7 Ab 7 G7

Cm

F7

Cm/Eb

b
b
_ _ _ { ! _j. _ _ l _ _ l _ _ _ n_ _ l . _ _ _ _ l _
_ =
l
===========================
&
_
_
_ b_ __
_ b_ _ ___ ___ _ _
_ _ __ ! ___ __ n__
.

36

Gm

F7/Eb

F7

G7/D

Bb /D

Cm

F7

Fm6/Ab

b

b
!

l
===========================
&
_ _ __ l b__ . _ l n_ __ l __ __ __ __=
___
___ ___ ___ l ___ ___ __ __ _ _ l
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n b _ .
b
Eb m /Gb
Bb /F G
C /E F /Eb 1. Bb
F
48
2. B
D.S. al Fine
b

_ _ _ { _ =l
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_ n_ l n b l . _ _ l _
===========================
&
l
_
_ __ ! __ _ _
___
b_
u
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Gm
54
b
U !
. !
. !
.
b
! =

===========================
& l l __ __ __ __ l _k
l

l
l

___ __ _x
_ __ __ #___x
_ __j

__ __

42

G7/B G7

www.alessandropenezzi.com

Cm

13

Apanhei-te cavaquinho
tango brasileiro
Baixarias: Alessandro Penezzi

%D

Ernesto Nazareth

F# m7(b5) B7

Em
G
#2
!
7 cordas =========================
l
& 4
{ __ __ l _ __ _ __ __ l __ __ l __ __ __ __=
_
_

_ #__
__ __
_ n_ _ __
Am
D
C# dim G/D
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D/C
# C C# dim G/D Em
l
===========================
& __ __ l __ __ __ _ l _ _ __ __ __ __ l __ __ " _ _ #_ l . _ . =
_

__ __

_
_

_
_

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#
b
#
Fm
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Em
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# G/B

l
===========================
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_
__ __ . __ #__ . __ __ #__ _
To Coda
Fine
1. G
B
Em Em/D F# /C# F# /A#
# Am D
2. G

===========================
& __ . __ __ __ l l __ _ __ __ __ __ { " #__ _ _ _ n__ __ __ { __ __ __ __ l __ #__ __=l

_ _ b_
_ _ . _ __ . __ #__

__ . __
Em
B
Em
C# m b
Bm
F# /A#
# F# m b B

l
===========================
& __ __ l __ _ _ #_ # l . #_ l _ . #_ _ l #__ __ __ __ =
_
_
_ #__
_
_ _ _
Em
F#
B
E
# B

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14

As rosas no falam
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19

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Arranjo: Alessandro Penezzi

7 cordas

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Cochichando

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D.S. al Coda

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FADE OUT

22

Entre mil...voc!
choro
arranjo: Alessandro Penezzi

Ab dim

Jacob do Bandolim

2
7 cordas =========================
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13

Dm7

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17

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21

C7

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25

Bb m/Db

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29

C7

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23

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33

2.

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D7

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38

Cm6/Eb

D7/F#

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41

Ab dim

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45

F F7 E7 Eb 7 D7

D.S. al Coda

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49

1. F/A

fi Coda

C7

2. F

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===========================
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53