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B90725 Mel Bay Presents Antonio Carlos Jobim for classical guitar Arranged by Paulo Bellinati Usman sl ela Memon ee re och aa ao Com ced.) 22) Mel Bay Presents Antonio Carlos Jobim for classical guitar Arranged by Paulo Bellinati This book is a transcription of 10 solo pieces recorded on the Paulo Bellinati Plays Antonio Carlos Jobim DVD (MB99725DVD) 1234567890 AU. lois RESEAVED. TERNATIONAL COPYRIGHT SECURED El, MAGE AND PRINTED INUSA, ‘wo para ts pueaon may bo rroaacea ots ce an, ere in il eye, or tans aif ory ay nets cone moanca,petocopy, ecouang "ohare, ost etn pemosor oe pe Visit us on the Vieb at www.melbay.com — E-mail us at emall@melbey.com Visit Paulo Boltinati on tho Web at www-bellinati.com TABLE OF CONTENTS Foreword Acknowledgements 5 Antonio Carlos Jobim (biography) Paulo Bellinati (biography)... Notation ...... Estrada Branca... Bate-Boca .. Luiza... Por Toda a Minha Vida Antigua Chora Coragéo Garoto (Choro). Valsa do Porto das Caixas.... A Felicidade .. Surfboard 4 FOREWORD In 1999 Ibegan to select the compositions an! conceive the arrangements contained in this book. After recording the Paulo Ballina Pays Antonio Carlos Jobin DVD (Mel Bay Publications) in 2001, I started the actual work of writing the rateria! in order to produce the most accurate guitar parts for every single piece recorded on the DVD. For a number of zeos0rs, it took me much longer than I'd planned, and Lonly managed to wind up the workon the remaining two scores at the beginning of 2006, adding the final fingering and dynamic indications. 'm very proud to finaly make this project available to everyone who loves to play ths refined repertoire One seldom finds printed popular music that contains more than melody and chord symbols. An accurate transcription of a popular werk that contains all the events that go on in an instrumental performance is even more rare My desice to fill inthis old, coupled with my deep love of Jobim’s music as well as the possibility of having many other guitarists play my arrangements in the future, swayed me into tackling this projec. My main goal was to transpose the universe ofthis masterful Brazilian composcr tothe guitar. Jobim was a well: respected arranger who was highly attentive to details; his extreme good taste emerged not only in his sublime melodies and harmonies butalso inal the other finishing parameters of a musical wok such a introductions, counterpoint, improv isations, dynamics, nuances, and even shythmie details of the accompaniment. Moreover, I intended to present quite a ifecent Jobim from the one who carne up with “Garota de Ipanema" and "One Note Samba”, these and so mary oihets, but by no means less wonderful Bossa Nowa standards, were na the pieces I was looking for while assembling this collection First ofall, Ive worked over the songs with real possiblitcs tobe transposed for solo guitar, more precisely, the ‘ones without Iyris, such as "Bate-Boca’, "Antigua’, ‘Caroto, "Valsa do Forto das Caixas’, and “Surfboard”, originally instrumental works that reveal a much more sophisticated Jobim, closer to his favorite classical composers such as Debussy. Ravel, Chopin, Gnattali, and Villa-Lobos. Secondly, the songs of more introspective anc romantic character ike "Estrada Branca” the oldest Jebim piece in this book, fisst recorded in 1958 by Elizeth Cardoso}, "Amparo", "Gabriela", "For Toda a Minha Vida", "Chora Coragio", "A Folicidade" the famous theme from the motion picture Black Orpheus) andl "Luiza, the most beautiful and perfect Brazilian song ever written. Unfortunately, Gabriela” and” Amparo” hed to belleft oat ofthis collection due to unacceptable coneractual somands made by the copyright owners. I hope I will bo able to include these missing arrangements in a future printing, Another goal ofthis publication was to contxibute to the Brazlion solo guitar literatuce, which has been played and recorded by increasingly more soloisis around the world. The musical consistency of the pieces presented here certainly will move artists to inclade some of them in their concert program, side by side with other masterpieces written by Villa-Lobos, Permambuco, Garoto, Grattali, Mignone and other great maestros from Brazil My provious publication The Gistr Works of Garoto (GSP-1960) - two valumes of folios with the musi of the great Brozilian guitarist Annibal Augusto Sarcinha (Garoto) was a challenge in the sense that my goal wes to tecover an original guitar work that hed been Tost even wrote a couple of arrangements, but for most ofthe pieces, the main body of work ‘was fo transcribe note by note from Garoto’s original recordings andi/or manuscripts For this Jobim project I faced an even greater challenge, all the pieces here have been arranged and re-created, completely written out from seraich, based on Jobim's original recordings alone. [ did not use any previous guitar version ‘even as a simple reference, except for my own versions of "Luiza’ and "Caroto" recorded on my Seranatz CD (GSP 1983), Hoping this book fullills most of the aspirations stated above, I sincerely wish, dear colleague, you will have as ‘much fun reading and playing these pieces as I have had all these years. Enjoy! Paulo Bellinati ‘So Paulo ACKNOWLEDGEMENTS 5 “This book is dedicated to my family and friends who love Jobim’s music as much as I do. They gave ime the energy, support and inspiration to complete this project. I sincerely thank Claudia Simées for the wonderful watercolor she painted especially for the cover, Branko Kukurin for the picture of me taken at the live concert at the 204 Kastav Guitar Festival-Croacia, Marcftio Godoi for all the graphic ideas and the digital treatment of the cover art, Daniel Murray for first reading all the pieces, searching for (and fincling) occasional mistakes in my manuscript, Mirella Zilli Celeri for the English version of the Jobim biography, José Murray for asking me to include “Bate-Boca” in the repertoire, Claudio Leal Ferreira for the lead sheet of “Valsa do Porto das Caixas’, Cri ina Azuma for having flown from Paris to the US. especially to play “Amparo” with me on the DVD, Edgard Pogas for the excellent suggestions during my research, Riek Udler and Jerry Udler for the English proof-reading /editing of the texts in this book, and Bill Bay for making this project come true. ‘A special thanks to my friends Alan and Esther Haddad for their generous help and constant encouragement ever since this project was first conceived. I'malso very grateful to my dear friends and excellent musicians Carlos Barbose-Lima, Sergio Sarraceni, and Luiz Roberto Oliveira, for providing me with the honor to meet Jobim personally, and for always believing in my work, Finally, I want to thank my dear wife, Fernanda de Castro, fom the bottom of my heart, and my ‘wonderful kids, Carlo and Giulia, for their endless love and for making my life complete. Paulo Bellinati 6 ANTONIO CARLOS JOBIM Antonio Carlos Brasileiro de Almeida Jobim was bom on January 25th, 1927 in Rio de Janeiro, and lived most of hhis youth in the Ipanema neighborhood. His first instrument was the guitar and then he took up the piano. Initial classes ‘with the renowned Hans Joachim Koelireuter were followed by further piano stucies under Litcia Branco and Thoms ‘Teran, and orchestral acranging under Leo Peracchi, As an architecture undergraduate Jobim did a brief stint at an architecture office. Upon realizing his true calling he abandoned all other vocational pursuits in order to become a professional pianist and to study harmony. In 1949 he married his high-school sweetheart, Tereza, making ends meet by playing at Rio de Janeiro nightclubs. “Theee years later, he was hized by Continental Records where he wrote arzangements for important singers such as Dalva de Oliveira, Orlando Silva Blizeth Cardoso, and Dick Farney. At that time the main arranger at Continental was Radamés Graitali, who coached Jobim as his musical godson. In 1953 "Incerteza”, co-authored with Newton Mendonga, was his first song to be recorded. In 1954, singers Di Famey and Léicio Alves did a duet recording of "Tereza da Praia”, co-authored with Billy Blanco which became his first hit He and Billy Blanco also composed the music for the album Sixjonia do Rio de Janciro, with anrangements by Radamés CChattali, which was later inchuded in the soundtrack of Esse Rio Que Eu Ano, a Hugo Christensen film. Amongst the first singers to record his music were Nora Ney and Elizeth Cardoso who attracted serious attention to the talent of this young composer In 1956 Jobira met the legendary poet and lycicist Vinicius cle Moraes, who invited him that very year, to compose the music for his play Orfeu dt Cenceigio, which was presented at the Municipal Theatre of Rio de Janeiro, the album being released on EMI subsidiary Odzon, The Jobim samba "A Felicidade” (Iyries by Vinicius de Moraes) was included in the Marcel Camus film Black Orphows, which received the 1959 Palm ¢'Or at the Cannes Film Festival, and the Oscar for Best Foreign Film in 1960. The Sylvia Telles album, Carica, released in 1956, included the hit “Foi a Noite”, co-authored with Newton Mendonga. The groundbreaking “Chega de Saudade", composed with Vinicius de Moraes, was @ major hallmark in career and in the history of Brazilian music. Released in 1958 on the Elizeth Cardoso album “Cancao do Amor Demais”, with musical direction and orchestral arrangements by the compeser, introduced Joio Gilberto's innovative guitar accompaniment. {In 1950, Jofo Gilbeorto's first album, “Chega de Saudade" (Odeon), featured the tile song as well as “Desafinado” (fobim-Mendonga), two breathraking sambas which launched the Bossa Nova movement thereby radically changing the face of Brazilian popular music forever. That same year six of his songs including “Desafinado” became big, hits, three of them co-authored with Vinicius de Moraes; “Eu Sei Que You Te Amat”, “A Felicidade’, “Brigas Nunca Mais”, plus "Dindi”, with Aloysio de Oliveira, and “Este Seu Olhar". {In 1962 Jobim and Vinicius de Moraes composed “Gerola de Ipanema”, one of the most widely recorded congs in the world. On November 21 of that same year, he performed with other artsis at the legendary Bossa Nova show at Carnegie Hall in New York. He composed the soundirack for Paulo César Serraceni’s film Perio es Crisas that year as well. Between 1963 and 1964 he recorded two albums in the United States: The Composer of Desafinade Plays (Verve) and ‘The Wonderful World of Antonio Carlos jobin (Warner), which included "Por Toda a Minha Vida", “Valsa do Porto das Caixas" and “Surfboard”. During this period Jobim established Corcovado Music, his own publishing company, in the USA. He also made a guest appearance on the Sérgio Mendes-led Bossa Nova York album featuring Art Farmer among others First-rate jazz musicians such as Ella Fitzgerald, Coleman Hawkins, Curtis Fuller, Zoot Sims, Herbie Mann and Dizzy Gillespie started recording his music. The Getz/Gifberto (Verve) album, featuring, Antonio Carles Jobim, sold two million copies the first year alone, | In 1964 in Brazil, he recorded the classic album Caymmai Vista Tor (Elenco) with Dorival Caymmi and family. When they got together to record the album, Caymmis gift to Jobim was a samba-cum-waltz number, “Das Roses,” to which Jobim responded with enother new song “$6 Tinha de Ser Com Vocé". That same year he also composed the soundtrack for Sacha Gordine’s film Saniio Médico, a ee Im 1965 Jobim recorded the album A Certain Mr. Jobim (Warner) with arrangements by Claus Ogerman. Two years later, he recorded the album Francis Allert Sinaira & AulOnio Carlos Jobin (Reprise) whick won the Grammy Award fer best Vocal aAbum of the year. Jobim's success in the United States was extraordinary, second only to The Beailes in sales. Riding on the wave of music festivals, which exploded in Brazil during the 1960s, “Sabi”, co-authored with Chico Duarque, was performed at the 3rd Intemational Song Festival in 1968, winning first prize and receiving one of the longest ovations in the history of Brazilian music festivals. Betwocn 1967 and 1970 farther US. releases followed: Wave (AEM) whose fille tack has become a siandard, Tide (AGeM) - both arranged by Claus Ogerman, and Stone Flower (CT!) with arrangements by Eumir Deocato, including instrumental hits “Amparo” end “Garoto". In 1970 he composed the soundirack for the Lous Gilbert lm Tic Adoaniure's “The second sessions with Frank Sinatra, produced hy Eumir Deodat, rook place in 1969 with the tracks heing issied in 1971 under the ile, Sinat and Company Reprise) The albumn Matita Per? (MCA Philips) released in 1973 included the dassic “Aguas de Margo” as well as “Cronica dda Casa Ascassinada” a fourpieco suito that became the soundtrack to another Palo Cérar Saraceni film. Another version of “Aguas de Margo,” which Jobim recorded with Elis Regina in 1974 on the album Elis & Tom (Philins/ Verve), ‘went on to become one of his most successful hits. In 1977 Jobim rocorded the album Minha & Aténio Carlos joins (RCA), as well 2s the live album Tom, Vinicius, Joquinko & Miucha in Kio de janeiro at the Canecao. Jobim composed the music for several movies: Et Te Amo (1980) 2 film by Arnaldo Jabor, Gabriela (1982) by Bruno Barreto, and Para Viver Un Gracie Amor (1983) by Miguel Faria Janios, which was elso released as en album on Columbia. In the late 1970s/cerly 1980s, important albums such as Urubu (1975-Warner), Terra Brasils (1980-Warner], Edu e Tors (1981-Philips), Tom Joint ¢Bily Beno (1983-Relevo) the soundtrack, Gabriel (1983-BMG), and O Tempo eo Vento (1983- ‘Sou Livre) were released. In 1984, he formed the group Banda Nova, which performed at Camegie Hal. The following year, he performed with Joao Gilberto at the Montroux Festival, Switzerland. In 1987, he and his Banda Nova recorded the ‘albums To Jobin inédite (BIG) andi Passavim (Verve), which included the hit “Luiza’, composed for the TV soap opera Brithante (TV Globo). In 1990 Jobim recorded another live album Tom canta Vinicius which was finally released by Jobim Music in ten years later In 1982, at Rio de Janeiro's carnival parade, 'Estagio Primeira de Mangueisa' samba school paid tribute fo Jobim's life and music with the theme “Se Todos Fossem Iguais A Veco”, the same title as the song that he composed with Vinicius de Moraes in the 1950s. In 1994 he released Antiio Brasieire; the album won a Grammy in the Bost Latin Jazz Performance ‘category. Antonio Carlos Jobim passed away on December 8th, 1994 following post-surgical complications at Mount Sinai Medical Center in New York City: He had traveled to the US, for badder cancer treatment. His songs have been zecorded, and pecformed by artists throughout the world, and his legacy to the Brazilian music repertoire isan incalculable treasure 8 PAULO BELLINATI Bor in Sfo Paulo in 1950, Paulo Bellinat is one of Brazil's most accomplished contemporary guitarists. He studied classical guitar with Isaias Savio and graduated from the Conservatory Dramético e Musical of Sito Paulo. From 1975 to 1080, Bellinati lived in Switzerland, continuing his musical studies at the Conservatory of Geneva and teaching at the Conservatory of Lausanne. At that time he also pesformed with his own group in many European festivals including the ‘Montreux Jazz Festival, the Ozone Jazz Festival in Neuchatel, and the Feetival du Bois de La Batie in Geneva, Besides performing solo concerts and giving master classes in many inie:national guitar festivals, he aleo tours ‘with different ensembles including his own guitar tro, the Pau Brasil group, and with the Brazilian singer Monica Salmaso. He has both recorded and performed with these and other important arliss including Steve Swellow, Carla Bley, Gal Costa, Renaud Garcia-Fons, Antonio Places, Leila Finhoira, Joao Bosco, Cesar Camargo Mariano, Edu Lobo and Chico Buarque, Aside from being a performer, composer and arranger, Bellinati Is also a respected musical scholar. He rediscovered, transcribed and recorded the music of the great Brazilian guitarist compocor Annibal Augusto Sardinha (Garoto}. His landmark recording The Guitar Works of Garato (GSP) and two-volume edition of Garoto's works have received inteznational exitical acclaim and recognition for their historical significance. Paulo Bellinati draws from the rich tradition of Brazil, and most of his compositions exe written in Brazi musical styles such 2s: Lund, Modinha, Schottisch, Choro, Seresta, Maxie, Jongo, Samba, Valse Serenata, Baiéo, Maracatu, Frevo, and Xaxado. He has developed a contemporary approach to Brazilian folklore, enhancing, traditional forms with modern compositional techniques and harmonies. He has written arrangements for guitar solo, duo and rio, guitar & clarinet, guitar & voice, and for many different ensembles, Some of these works have been recorded on his albums New Choros of Brazil (Acoustic Music Records), Felicidade (GSP), and Afro-Santius (CSP), with vocalist MOnica Salmaso featuring Paulo's arrangements of the complete afto-sambas by composers Baden Powell andl Vinicius cle Moraes. He has won numerous awards, inchading the Guitar Player magazine poll as one ofthe top 10 Brezilian guitarists, the 1994 Premio Sharp awarés (Brazilian Grammy) as best arranger for Gal Costas CD © Sorriso do Gutode Alice. He also received the Prémio Sharp nomination ac best soloist for his albums Seranets (CSP), and Lira Brasileira (CSP). His Garoto album received a5-siar rating from CD Kevizo, and the album Guiteres du Brésl (GHA) received “Le Choc de La Musique”, the highest award from the prestigious Le Monde de la Musique in France. In 1986, Paulo Bellinati won the first prize in composition for his solo guitar piece “Jongo”, at the Sth Carrefour Mondial de la Guitare in Martinique. In 1996, John Williams & Timothy Kain recorded “Jongo” (guitar duet version) for their album The Mantis and the Moon, In 1998 Paulo Bellinati recorded the Brazilian Guitar Virtues» DVD for Mel Bay Publications, performing and discussing his compositions. In 2003 Mel Bay released the Pesto Bellinati Plays Antonio Carlos Jotins DVD, which includes Faulo’s arrangements of some of the masterpieces by the great Brazilian composer Antonio Carlos Jobim. His most important recent projects include this volume of folios Antonio Carls Jobin: for Classical Guitar, the publication of his picte “LurrDuo” (GSP) for two guitars, the release of his solo album A Felicideds (CSP-2008), the Pau Brasil group recording 2005 (Biscoito Fino) and the Manica Salmaso/ Pau Brasil recording Noites de Gala, Sarita Na Rue (Biscoite Fino-2007). NOTATION 9 Bingerprint barré Estrada Branca : «python ese evel ete eerarrecra pie Rogieee ater coats, Peres Picea ein arianicuateeceirog epscaltid wena map ra arene Grete saeeeioe: and anole entho ist orsacone sing art lower simultaneous Inthe example the 1st ger plays an A eth the dj he dlosest othe paim) nd = Destarp wih ie fingotp Crossing bared 1 Th st anger acuved poston sess ate na ts tn i GY) Barré in parents (a) ‘Used for betes mechanical slain. Inthe examples hal-bare onthe Sh fret proctor tho treble sringe ard alowea pracee movot the noxtmneoure (CM Barré in parenthesis (0) Abows the et-hand fingers the maximum ste. Inthe example the It finger plays the Int string ang the Sed {pint only. The fngee stays straight asina ll Bre postin but the fingerspispointing away from the fingerboa J tuntora Luiza tort 4 aditonal percussive efect produced by iting the site therighchand uni agsirt tho tring coe tothe begs Tntheetample the Major chord should ing dear by ‘uldngonly tho biso sings. th ch Left hand onty | right hond only 11 ta ranmern te sangeay he enlace Ho oie toc wlae spas agar nee Inthe example te notes ae played on the 2n string; ipsratrbnr ne Cap anc tenghe heindec finfertpetbe Dare Jas Natural and rtf harmonies © ‘Thediamond-shaped notcheads (harmonic) area actual plish concer) ‘Normal netchends sound an octave lower an wate, ‘Theexanple{s acombiation of harmonics and normal sounds, The rst brats achord with the Abas sng and to natural hacronion onthe iststingl ith fntand Don teed sting sre) lowell Amslody in aac names J) Glissandosiur APelicidade lndicted by a ine over/under thenoteheads ue, “Thefinger number appears ory or te stoke and the second notes not plucked by the ighthand. ‘Theerampleshows adesconding slisanan su with he It finger iiss ofexpression age Sees en the affected notes with ager narabers ually na change postion e pskedby ert hana we words connected bya glssando of xpresion. Estrada Branca Arranged by Paulo Bellinai for solo guitar Antonio Carlos Jobim (4927-1994) (© 1250, 1980, 972 Ediora Arapor, renewal eoyight Corovade Muse Corp. and VM Enterriscs | Al Rights Reserved, Used by Peimissicn. | ee 34 [ae all. % fae iy pesante = ~ He—teg : aS Bas See Wiel _—— ® = aa —— @ > ® ~ x oa Lene $ >) ea mp dolce qm A cn, et tapes) XI Vir (SSS oS Pte pesante ys = z ‘P dake oa ‘alto ral a & The atficil C sharp arnovicis played while theft fingerof the Left hand presses the F sharp om he second fret of the fat tg, Bate-Boca ‘Arranged by auto Beltinat for solo guitar Antonio Carles Jobim as27-1994) Legato e preciso @0@o0 — 90- oo- PESPPennp cu | thet oO Q— Cvil—_. me ts one LE PRE ® su] ‘meno mosso ke: F Te Coda cl @ ol — ——— _©@ (cv, presses the Ist string over the (imaginary) 20 fet osation. 4 The topCis als played pizicato with the thumb. Fang it Luiza Arranged by Paulo Bellinat {or solo guitar ‘Amvonio Carlos Jobim (0977-1994) J=84 ibero (evil) eI | 4a fo atempo cantabile © 1967 Antena Cates Jobin ‘Al Fighs Resorves, Use by Permission. mr a mn qn cv a eT fae 7] 14 = Sa pais a in wv a 4 Insome reowings, Jobim plays.a G axl one ullsep higher han dhe wien F sharp, ee ete, @— cy 2 =a a es v pe F x , a ? forum tificial har XIV XX XXX XV XM OXMT Wht gy ®@2o oo OO ——————E P © tambora Por Toda a Minha Vida {for solo guitar Arranged by Paulo Bellinat Antonio Carlos Jobim (1827-1994) J=70 Recitative cn @ cv =a see (© 1858 Eotoa Arpera, renewal copyright Cotovad Music Carp. end VM Enterprises ‘I Fights Reserved. Used by Permission rel a tompo Antigua Paulo Bellinati aaeiie Antonio Carlos Jobim (as27-3004) J=70 ‘Tempo de Bossa o- — 6 TTT TTS oe ——se i ogg 4vl cvn ev evil a — a) — : eel = ; re g = ee=2 oe eee einige usta A Fighic Focowed. Used ay Fermacion, eo w— pine) pad fd Yel eer er pina — e ex, evil evi eV 1 ® cK om avi cv eV evi 0 ® wie— tm cr a cv a af @90_0 @ oi z DEE a sone == aA af ee Sea # Chora Coragéo mange Pail Beliza for solo guitar Antonio Carlos Jobim (asz7.1s94) Adagio dolorido " w ev cn ae, 3 Lae i - He Se = ———— : fee eles 7 5 7 Recitativo meno mosso a cr gs anificial har 1 hae ait bet Ha ME IY xxv @ Onn za 3 a Garoto a ‘Arranged by Paulo Bella (Choro) for solo guitar Antonio Carlos Jobim (1927-1998) J=72 preciso Pf ©1070 Aron Care Jd sirmgherooneed Used by amis. pe re 41 eu ye ia 1 te ot reer oF ae 2 (¢v) — «mt — zl ® ql cul qu a ‘coniatile: d— 4 eae 41 — qm pees a a “y alls om poy ~ aso pea (ey — em ——_. gels Fh fa 1 # e Valsa do Porto das Caixas Aanged by Pao Beli oe forsolo guitar Antonio Carlos Jobim (0927-1991) 1=90 Misterioso ¢ legato Cre, cv cs es) pg —afil @® © 165 Inanens tic anv copyiont Carona Nase Oo. ‘Al RighisRasatvod. Uses by Pormicsor. a ea R a @ @ ee sei saa” = ope ¢ eje | Fae. ig ee! © (CVI) ee ® =, ea ee rn ay ra ~— = pa pe tte = ; eo me? a“ pil iy ae ay 2 rar ay Dp z 4g ——4, aig : i com 7 # ican a eee ao xt xv ® b i ad] ‘lien >» iF i ie cult — TOENDD, = 2a = =n «SSE SERS A Felicidade ranged Paul Bellint for solo guitar “Antonio Caos obim J=H0 Andantino espressivo | Geol ¢XIL . Oh = t ¢VIIl (cvily MAA 4: Won: aster et 3 oth> B ——— =e TL. er J=89 Tempo de Bossa 0 “ pia v aaa see emt qi— ea aS ees eV ¢vi ¢ et ———___________ av- 30 04g ohd wi ov av —~ _~ j—2 $- subg ge Improvisando a). ish. 2) Ba) pb. = Gi 3 ded. ‘ fee ORS oO ro cai — sy a PE eri sy ae Sane I cr — > Surfboard Arranged by Paulo Belitat forsolo guitar Antonio Carlos Jobim (41927-1994) Tempo de Bossa 1287 preciso 1© 1665 Ipmnera Musi, renewal copyright Cowevads Music Corp. | Figs Flasarvod. Used by Parmsc (cL LL a ct —— cm 5 ie? Simile prima © cur «a cll a “p-il- bsad ge ego alse es TN ep pe i] Tht legato, sempre a tempo Pe ® on, Ee PR z ® = ese eee a — @n— ere Ri Be ein To crese. poco a poco ew— wo v¥— ae