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Andrián Pertout Cinq petites mélodies for Pianoforte No. 400 FOR REFERENCE ONLY NOT FOR PUBLIC PERFORMANCE USE DO NOT DUPLICATE OR REPRODUCE WITHOUT PERMISSION

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Page 1: Cinq petites mélodies - caminosdelinka.org - Cinq petites... · 13-03-2004 · as presented by Elliott Carter in his monumental publication of The Harmony Book, and is structurally

Andrián Pertout

Cinq petites mélodies for Pianoforte

No. 400

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

Page 2: Cinq petites mélodies - caminosdelinka.org - Cinq petites... · 13-03-2004 · as presented by Elliott Carter in his monumental publication of The Harmony Book, and is structurally

Andrián Pertout

Cinq petites mélodies for Pianoforte

No. 400

Composed between May and August, 2008

Commissioned by Julian Burnside QC

Composed for Michael Kieran Harvey in Celebration of Elliott Carter�’s 100th Birthday

Winner of the 2010 Friends & Enemies of New Music Composition Competition (New York, NY, USA)

World Premier: 3 October, 2008 (Conservatorium Recital Hall, University of Tasmania

Conservatorium of Music, Hobart, Australia) �— Michael Kieran Harvey

American Premier: 29 October, 2010 (Christ & St. Stephen�’s Church, New York, NY, USA) �— Eric Huebner

Latin American Premier: 12 January, 2011 (Sala Isidora Zegers, Facultad de Artes,

Universidad de Chile, XI Festival Internacional de Música Contemporánea 2011, 11-14 January, 2011, Santiago, Chile) �— Patricia Castro

Duration: 12�’16�”

Copyright © 2008 Andrián Pertout

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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PROGRAMME NOTES

From its ancient Mesoamerican capital of Teotihuacan, Mayan civilization resounded as �“one of the greatest

civilizations of the Western Hemisphere�” before the 1511 Spanish conquest of southern Mexico and

northern regions of Central America. It is during the Classic period of between 250 AD and 900 AD that its

two million citizens inhabited its more than forty cities �— an empire encompassing present-day Mexico,

Guatemala, Belize, El Salvador and western Honduras. Interesting to note is that Mayan mythology

considered the earth as a two dimensional entity, with each of its four corners corresponding to a cardinal

direction. The presumption was that positioned in each corner was a specific jaguar supporting the sky

(bacab or deity), and that each direction was further associated with a colour: Hobnil, bacab of the east,

colour red; Can Tzicnal, bacab of the north, colour white; Zac Cimi, bacab of the west, colour black; and

Hozanek, bacab of the south, colour yellow. A fifth direction, the centre �— associated with the colour aqua

�— was also recognized (an axis mundi, or point of connection between sky and earth), and conceptualized

within the pre-Columbian cosmological theorem of the great ceiba tree, or �‘world tree�’.

�“Like many peoples, the Maya pictured a universe consisting of heavens above and underworlds below, with

the human world sandwiched between. The heavens consisted of thirteen layers stacked above the earth, and

the earth rested on the back of a turtle or reptile floating in the ocean. Four brothers called the bacabs, possibly

the sons of Itzamná, supported the heavens. Below the earth lay a realm called xibalba, an underworld in nine

layers. Linking the three realms was a giant tree whose roots reached into the underworld and branches

stretched to heaven. The gods and the souls of the dead travelled between worlds along this tree.�”

�‘Cinq petites melodies�’ or �‘Five Little Melodies�’ was commissioned by Julian Burnside QC, and especially

composed for Michael Kieran Harvey in Celebration of Elliott Carter�’s 100th Birthday. The five-movement

work serves as an exploration of the post-tonal harmonic possibilities within the twelve-note chromatic scale

as presented by Elliott Carter in his monumental publication of The Harmony Book, and is structurally framed

within the Mayan mythological scheme. Each movement corresponds with a particular compass or cardinal

direction and colour, although not in relation to the Mayan empire or the earth as a whole, but to the

geographical region of Latin America. The work incorporates two distinct rhythms from each of five distinct

cultural and political subdivisions (Afro-Peruvian, Argentinean, Puerto Rican, Afro-Brazilian, Afro-Cuban): No.

1, Noir de l'ouest, Landó (3/4) and Festejo (6/8); No. 2, Jaune du sud, Zamba (6/8) and Chacarera (6/8); No.

3, Aqua du centre, Plena (2/2) and Bomba (2/2); No. 4, Rouge de l'est, Toque de São Bento Grande (2/4)

and Samba Partido Alto (2/2); and No. 5, Blanc du nord, Bembé (6/8) and Guaguancó (2/2). The pitch

material has been directly derived from Elliott Carter�’s catalogue of 3-note, 4-note and 5-note chords,

although pantonality, modality and atonality are adopted in combination as a harmonic language as opposed

to one single characteristic approach. The juxtaposition of 3-note and 4-note chords at intervals of a minor

and major second further produce essentially 6-note and 8-note simultaneous sonorities, while in the third

and fourth movements, an arch-form structure returns identical 4-note and 3-note harmonic (utilized in the

second and first movements respectively) materials to the musical form.

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Elliott Carter�’s Catalogue of 3-Note, 4-Note and 5-Note Chords

3-Note Chords

4-Note Chords

5-Note Chords

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Latin American Rhythms

Landó (Afro-Peruvian) The Landó is an Afro-Peruvian derivative of �‘Landu�’, an �“African fertility dance where the sexual act is mimed

by the couple.�” It is set around six pulses organized into two 3/4 bars, with the main accents essentially

occurring on the first and fifth pulse, followed by a soft accent on the third. The rhythm originates from the

West African state of Angola and is usually performed in conjunction with a percussion instrument called a

cajón (Afro-Peruvian rectangular wooden box).

Festejo The Festejo represents one of the most important Afro-Peruvian musical genres, and a collection of other

dance forms are attributed to its melodic and rhythmic organization. In The Garland Encyclopedia of World

Music William David Tompkins describes its construction as essentially being in a �“6/8 meter with a stilted

iambic rhythm.�” Its name is in relation to the Spanish word �‘fiesta�’, while its origins are in a dance form

comprising of male competitors playing cajóns.

Zamba (Argentinean) The Zamba is a Creolle courtship dance (where the dancing couple each hold a handkerchief), that together

with the Cueca (also known as Chilena in Chile and Marinera in Peru) originate from the Zamacueca (or

Zambacueca). It was introduced to central and north-east Argentina during the first half of the nineteenth-

century via Chile and Peru. The usual performance setting is an ensemble consisting of voices, acoustic six-

string guitars and the Argentinean bombo (Andean cylindrical-shaped double-headed drum).

Chacarera The Chacarera is a folk dance and music from the northwest of Argentina and south of Bolivia originating

during the 19th century. The usual instrumentation of the Chacarera consists of guitar, violin, accordion and

the Argentinean bombo or bombo legüero (constructed from a hollow tree and animal skins with fur �— the

wooden rims and head struck with a stick and a mallet). It features a 6/8 melodic structure framed around a

3/4 rhythmic structure performed by the bombo.

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Plena (Puerto Rican) The Plena is a folkloric music genre from Puerto Rico deeply rooted in both an African and a Spanish musical

heritage. The rhythm is generally performed on hand drums called panderettas, panderos or pleneras, and

also includes güiro (notched gourd scraper), as well as the cuatro (four-stringed lute), maracas (pair of

gourd rattles) and accordion. The three different-sized panderettas utilized in the rhythm are referred to as

the seguidor, segundo and requinto.

Bomba The Bomba originates from Ghana and Nigeria in West Africa and represents the most important Puerto Rican

music and dance genre. It was introduced to the region during the 18th century by black slaves working in

the sugar cane plantations of coastal towns such as Loiza Aldea. The traditional performance setting consists

of bomba drums (barrel-shaped hand drums) cuá (pair of sticks on the side of a drum or log drum) and a

single maraca.

Toque de São Bento Grande (Afro-Brazilian) The principal instrument of the Brazilian �‘Capoeira�’ �— a stylized fighting dance of the Bahia region �— is the

berimbau, a one-string musical bow of Angolan origin, usually fitted with a gourd resonator. It is performed

with a coin or stone (acting as a bridge), a thin bamboo stick, and a caxixi or small wicker basket rattle.

Among the many traditional Afro-Brazilian rhythms directly associated with this martial arts form is the �‘Toque

de São Bento Grande�’.

Samba Partido Alto Partido Alto is a derivative of the common Brazilian Samba (characterized as a �“syncopated 2/4 rhythm with

a muted beat and a main beat�”), and is usually played by percussion instruments that include surdo,

pandeiro, and tamborim, as well as the cavaquinho (four-stringed lute) and/or violão (acoustic guitar). The

rhythm has sacred rural origins, and an association with the Afro-Brazilian dance and musical genre Jongo,

which is performed on drums called candongueiros, angumativas and caxambus.

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Bembé (Afro-Cuban) The Bembé is an Afro-Cuban rhythm and religious ceremony generally associated with the rites of the Lucumí

cult or Santeria, a traditional African religion introduced by West African slaves to the region in the 16th

century. The batá drum (double-headed hourglass-shaped drum), which from largest to smallest are known

as the iyá, itólele and okónkolo is generally utilized in this sacred setting, although conga drums are

commonly substituted in a secular context.

Guaguancó The Guaguancó is an Afro-Cuban rhythm with probable origins in a secular dance of the Bantu people

known as Yuka. It is a sub-genre of the Cuban rumba, which is also associated with the musical styles of

Yambu and Columbia. The usual performance setting includes three conga drums (tumbadora, segundo and

quinto), claves (pair of hardwood sticks), which mark a distinct 3/2 �‘rumba clave�’ rhythm, and catá

(hollowed piece of bamboo).

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INSTRUMENTATION

Pianoforte

PERFORMANCE NOTES

In this score, accidentals affect only those notes which they immediately precede; accidentals are not

repeated on tied notes; and accidentals are not repeated for repeated notes unless one or more different

pitches intervene. If a sharp or flat is followed directly by its natural form, a natural is used. Cautionary

accidentals or naturals have been used to clarify ambiguities.

dynamic accent

greater loudness and sharper attack than standard dynamic accent

upward arpeggiation

downward arpeggiation

indication of sustain pedal continuation (do not release sustain pedal)

accusé with emphasis

aérien light, airy

aigre harsh, shrill

à peu près sans pédale almost without, with very little pedal

âpre harsh, violent

arrêt stop; pause

attaquez de suite go on immediately

attendez wait, pause

augmenter to increase, crescendo

au loin far away, in the distance

au mouvement a tempo

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bien rhythmé with rhythmic emphasis

caressant tender, caressing

cédez yield, give way; get slower, diminish the speed

coulant flowing

doucement marqué gently accented

éclatant with brilliance; dazzling, sparkling, sunny

éloignant becoming more distant

emporté passionate, carried away with passion

en badinant playfully, scherzando

en blousant with a burst (of passion)

encore plus animé yet more lively

en dehors bring out

enivré elated, ecstatic

en se calmant subsiding, becoming calm

en s'effaçant fade away

estomper to tone down, soften, blur

étincelant sparkling

exalté with enthusiasm

expressif with emotion and feeling

faire ressortir le chant bring out the melody

faire vibrer allow to vibrate (keep the damper pedal depressed)

fluide fluid

furieux furious, raging

héroïque heroic, bold, daring

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heurté abrupt, harsh, jerky

incisif distinct, cutting, biting

le moins possible le pédale

the least pedal possible

les basses légèrement expressive

the bass notes should be lightly expressive

levez peu à peu lift (the pedal) gradually

lisse smooth, flowing

martelé very strongly accented, very distinct

pédale à moitié enforcée pedal half depressed, half pedal

pédale enforcée pedal deeply (depressed)

percuté percussive

pesante heavy, weighty, strong, forceful

plus chaleureux more ardour, warmth

plus vif more quick, brisk lively

presses un peu press ahead, get faster, hurry, rush a little

puissant powerful, strong

rythmique rhythmical

s'agrandissant expanding

sans dureté, très lié very legato, without harshness

sans lourdeur without heaviness

sans pédale without pedal

sensible with feeling, sensitive

s'évanouissant fading out

sortant de la brume coming out of the mist

sourdement subdued, with a dull sound

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touché baissée sans faire résonner

press down the keys silently

toujours toutes les cordes sempre tre corde (always hold sustain pedal down)

tranquille et flottant tranquil and floating

très allant, gracieux et souple

very spirited, graceful and supple

très animé very lively

très apaisé very subdued

très atténué very soft (quiet)

très calme et doucement expressif

very calm and gently expressive

très décidée very decisive, marcato

très doux very gentle, sweet, soft, delicate

très éclatant very brilliant

très enveloppé de pédales covered with pedalling

très estompé par les pédales

very blurred by the pedalling

très expressif very expressive

très incisif very distinct, cutting, biting

très léger et fondu par la pédale

very light and indistinct, due to pedalling

très mesure in strict time

très sostenu de pédale very sustained by the pedal

un peu marquè a little marked, marcato

velouté velvety

vigoureux energetic, vigorous

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&

?

43

43Pianoforte

Landó

�œ �œ#

�œ�œb

éclatant

sans pédale

f

�œ �œ �œ �œ �œJ�œ�œ�œb

�‰ �œb �œ �œ �œ# �œ �œf6

6

�œb �œp (sub)

�œb �œb �œb �œ �œ�œb �œb �œ

6 3

&

�Œ�œ�œ�œ �œb

�œ

�œb �œ�œ�œ#p

?

�‰ j�œ�œ�œ# �œ�œ�œbbtrès enveloppé de pédales

�œ�œ�œb�œbaérien

�œb �œ3

?

?

?�Ÿ~~~~~

3

�œ �œ �œ �œ# �œ �œ �œb �œ �œ# �œP3 3

&

�œ �œb �œ �œ �œ j�œ�œb �œn( )3

3

�œ �œ �œ �œb �œb �œb �œb �œ

�œ �œ�œ�œbb �œ�œ�œ#�Œf pesante

�œb �œp (sub)

�œ �œ# �œ# �œ �œ# �œ �œ �œ

f63

�œb �œ �œ �œb*sans pédale

�œ �œ �œ �œ �œ J�œ�œ�œb �‰

�œ �œ �œb �œb �œ �œb6

6 &

&

&

6

�‰ j�œ�œ�œ##�œ�œ�œ �œ#

�œ

�œ# �œ�œ�œp

j�œ# �œlisse

�œ �œn3

�Œ �œ�œ�œbbbtrès enveloppé de pédales

�œ�œ�œbb ?

�œrit. �œ �œ �œ �œ j�œ

,

arrêt

�œ�œ�œPau mouvement3 3

�œb �œb �œb �œb �œ �œb �œ�œ�œn3 3

&

?

8

�œ�œ�œ �œbattaquez de suite

�œb �œb �œ �œ �œ �œ# �œ# �œn �œn �œb �œn �œ �œ#3 6 6

�œ�œ�œ �œ*

�œ �œ# �œb �œn �œb �œ �œ �œ# �œb �œn �œb �œ �œ3 6 6

�œ �œ

�œ�œ

f(sans pédale)

très éclatant

�œ �œ �œ �œ �œJ�œ�œ�œ

�‰ �œ �œb �œb �œb �œb �œf6

6

�œb �œp (sub)

�œ �œ �œ �œ �œb �œ# �œ# �œ6

3

Cinq petites mélodiesfor Pianoforte

Andrián Pertout, No. 4002008

Cinq petites mélodies Copyright © 2008 Andrián Pertoutwww.pertout.com �• PO Box 4172 �• Richmond East �• Victoria 3121 �• Australia

Made in Australia International Copyright Secured

Commissioned by Julian Burnside QC

No. 1 Noir de l'ouestComposed for Michael Kieran Harvey

FOR REFERENCE ONLY

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&

?

86

86

10

�‰ �œfurieux

�œ# �œ �œ �œ �œ �œ �œ �œb �œ �œ �œ# �œ# �œ �œn3

6 6

�‰ J�œ�œ�œ �œ�œ�œbb �œ�œ�œb �œ�œ�œ#n

�œ�œ�œ# �œ�œ�œ### �œ�œ## �œ �œ�œ## �œ�œ �œn �œ�œ6

�œ �œ �œb �œb �œ �œn �œ �œ �œ �œ �œ �œ# �œb �œ �œb �œ �œ �œ#�ƒ

6 6 6

&

?

86

86

Festejo 12

�Œ j�œ�œ�œp doucement marqué

�‰ �œ�œ�œb

�Œ . J�œ�œ�œb �œ�œ�œn##

j�œ�œ�œb �‰ �‰ �‰ �œ�œ�œb�œ�œ�œ �œ�œ�œbnn �‰ J�œ�œ�œb �œ�œ�œn##

�œ�œ�œ j�œ�œ�œF très animé

�‰ �œ�œ�œbbb�œ�œ�œ �‰ J�œ�œ�œ## �œ�œ�œn

&

?

15

�œ�œ�œbbb �‰ �œ �œn �œ �œ�œ�œbbb�œ�œ�œ �œ�œ�œ## �œ# �œ �œ# �œ�œ�œn

�œp

�œ �œ �œb �œb �œb �œ# �œ# �œ#

�œ�œ�œ r�œ# �œ �œ# �œ�œ�œn&

�œ �œ �œ# �‰ �‰f

�œ�œ�œ#aigre �œ�œ�œ#

�œ�œ�œb

�œ�œ�œb#�œ�œ�œ �œ �œ# �œ �œb �œ �œ#

&

&

( )18 �œ�œ�œb

�œ�œ�œbb

�œ�œ�œb

�œ�œ�œb#

�œ�œ�œn# J�œ�œ�œp (sub)

�œ�œ�œb

J�œ�œ�œ# p�‰ �œ�œ�œb#

�œ�œ�œ �œ�œ�œ# �‰ �œ�œ�œ# �œexalté

�œ �œ �œn

J�œ�œ�œb# �‰ �‰ �‰ �œpédale enforcée

�œ �œ �œ#

�œb �œ �œb �œ �œb �œb �œ �œ �œ �œ �œ �œ

�œ �œb �œ �œb �œb �œ �œb �œ �œ �œ �œ�œ#?

&

?

21

�œb �œ �œb �œ �œb �œb �œ �œ �œ �œ �œ �œ?

�œ �œb �œ �œb �œb �œ �œb �œ �œ �œ �œ �œ#

�œb �œ �œb �œ �œb �œb �œ �œ �œ �œ �œ �œ

�œ �œb �œ �œb �œb �œ �œb �œ �œ �œ �œ �œ#

�œb �œ �œb �œ �œb �œb �œ �œ �œ �œ �œ�ƒ

�œ �œb �œ �œb �œb �œ �œb �œ �œ �œ �œ*

2

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

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86

86Pianoforte

Zamba tempo rubato

j�œ#.�œ#

sensible

�œ �œJ�œ �œ

....#�‹# toujours toutes les cordes (trés estompé les pédales)

�œ�œ �œ J�œ J�œ �œ

....#�‹#

j�œ#�œ#

J�œ �œ �œ �œ

�œ# �œ �œ �œb �œ

....#�‹#4 .�œb �œ �œ .�œb

....�œ�œ�œ�œb#b �œ�œ�œ�œ#b�‰�œ�‹ �œ

�‰�œ�‹

�œ �œb �œ .�œ#

très calme et doucement expressif

�œ �œ J�œ �œ

....�œ�œ�œ�œ#n .�œ �œ

�œ �œ�œ�œ�œ# J�œ J�œ �œ

.�œ .�œb7

�œ# �œ �œb .�œ �œ �œ J�œ �œ

....�œ�œ�œ�œ# .�œ

.�œ#

�œ �œ �œ �œ �œ

�œ# �œ# �œ �œ#

�œen blousant�œ �œ J�œ �œ

�œ �œb .�œ

�œ �œ �œ �œ �œ �œ

�œ# �œ# �œ �œ#

�œ# J�œ J�œ �œ

10 �œcaressant

�œ �œ

�œ �œ �œ �œ �œ �œ �œ

�œ# �œ# �œ �œ#

�œ

�œ �œ

j�œb �œ

�œ J�œ �œ �œ �œ

.�œ j�œb �œ

�œ �œ �œ .�œ#�Œ . .�œ

.�œ j�œ �œ13 �œ j�œ# .�œ.�œ ..�œ�œ

.�œ j�œ �œ

�œ �œ# �œ .�œattendez

..�œ�œ ...�œ�œ�œu

.�œ j�œ �œU &

�œb �œb �œ .�œau loin

�œ �œ J�œ �œ

....bb*touché baissée sans faire résonner

sans pédale

3

AP �• 400

Cinq petites mélodies No. 2 Jaune du sud

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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4

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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AP �• 400

Cinq petites mélodies

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NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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AP �• 400

Cinq petites mélodies

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DO NOT DUPLICATE

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8

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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AP �• 400

Cinq petites mélodiesNo. 3 Aqua du centre

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NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

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WITHOUT PERMISSION

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&

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11

AP �• 400

Cinq petites mélodies

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NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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AP �• 400

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PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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�œb�œ �œ �œb&

�œ�œ�œ�œ### �œ�‹ �œ�œ�œ�œ### �œ�‹ �œ�œ�œ�œ### �œ�‹ �œ�œ�œ�œ###

j�œ �œ j�œ# �œ �œ# ?

&

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49 �œ�‹ �œ�œ�œ�œ### �œ�‹ �œ�œ�œ�œ### �œ�‹ �œ�œ�œ�œ###

�œ �œ# �œ�œ# �œ

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52 �œ �œ�œ�œ�œbbb �œ �œ�œ�œ�œbbb �œ �œ�œ�œ�œbbb �œ

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�œb �œ �œ#�œ �œ

�œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ

J�œ �œ J�œ �œ �œ#

&

?

55 �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb

�œ# �œ�œ �œ

�œb�œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ

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�œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ

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&

?

58 �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ

J�œb �œ J�œ �œ �œ

�œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ

�œ �œb �œb �œb�œ&

�œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œnb �œ �œ�œ�œ�œb

j�œ �œb j�œb �œ �œb ?

13

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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61 �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb

�œb �œ �œb�œ �œ

�œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb

J�œb �œ J�œ �œ �œ�œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ

Fpercuté

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�œ �œ & ?

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64 �œ�œ�œ�œbb (sub) bien rhythmé

�œ �œ�œ�œ�œbb �œ�œ�œ�œ �œ �œ�œ�œ�œbbvigoureux

�‰ �œ p en dehors

J�œb �œ �œbJ�œ �œ�œ�œ�œbb J�œ�œ�œ�œ �œ�œ�œ�œ �œ �œ�œ�œ�œbb

�œb �œ �œ�œ �œ �œb

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67

J�œ �œ�œ�œ�œbb J�œ�œ�œ�œ �œ�œ�œ�œ �œ �œ�œ�œ�œnb

�œ# �œ�œ �œ �œ#&

�œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ

j�œ# �œ j�œ �œn �œ ?

�œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ

�œb �œ �œb�œ �œ# �œ

&

?

70 �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ

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&

?

73 �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ

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�œ �œb �œb �œ# �œ�œ

14

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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76

�œ�œ�œ�œ �œ �œ�œ�œ�œ �œ �œ�œ�œ�œ �œ �œ�œ�œ�œj�œ �œb j�œ �œ �œ �œ

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&

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79

�œ �œ�œ�œ�œ �œ �œ�œ�œ�œ �œ �œ�œ�œ�œ �œ

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&

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82

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j�œ �œb J�œb �œb �œ �œ�œ �œ�œ�œ�œ# �œ �œ�œ�œ�œ#

�œ�ƒpercuté

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�œ

�œ �œ �œb �œb & �œ �œ

�œ#

�œ

�œ

�œ �œ

�œ#

�œ#

�œ

&

Bomba ( )85

�Œ�œp en dehors (faire ressortir le chant)

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J�œ�œ

J�œ# �œ �œ# �œ

�œ�œ�œ�œ �œ# �œ�œ�œ�œ## j�œ�œ�œ�œ �œ�œ�œ�œ j�œ#

�œ �œ# �œ �œ �œ�œ

....�œ�œ�œ�œ## j�œ�œ�œ�œ �œ�œ�œ�œ �œ# �œ�œ�œ�œ##

&

88

j�œ �œ# J�œ# �œ �œ �œ#

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J�œ�œ

J�œ# �œ �œ# �œ

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j�œ�œ�œ�œ##

15

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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&

91

.�œ J�œ �œ �œ�œ

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j�œ �œbrythmique

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�œ�œ�œ�œbb �œ �œ�œ�œ�œbb j�œ �œ�œ�œ�œbb j�œ

�œ�œ �œb

J�œ

�œb J�œb

�œ�œ�œ�œbb �œ �œ�œ�œ�œbb .�œ j�œ�œ�œ�œbb

&

94 �œb �œ J�œ .�œ

�œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb j�œ �œ�œ�œ�œbb j�œ

.�œ J�œbsans lourdeur

�œ �œb�œb

�œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ ....�œ�œ�œ�œnb j�œ

j�œ �œ J�œ �œ �œb �œ

�œ�œ�œ�œb �œ �œ�œ�œ�œb j�œ �œ�œ�œ�œb j�œ

&

97

.�œ J�œ �œ �œ �œ

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J�œ�œ#rythmique

J�œ# .�œ j�œ

�œ�œ�œ�œb �œ �œ�œ�œ�œb .�œj�œ�œ�œ�œb

&

100

�œ �œ �œ J�œ �œb j�œ

�œ �œ�œ�œ�œb �œj�œ�œ�œ�œb �œ

j�œ�œ�œ�œb

�œ �œbJ�œ

.�œ

�œ �œ�œ�œ�œb �œ ....�œ�œ�œ�œb j�œ

.�œ J�œsans lourdeur

�œ �œ# �œ

�œ�œ�œ�œb �œ �œ�œ�œ�œb .�œ j�œ�œ�œ�œ#b

&

103

.�œ J�œ �œ �œ�œ

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.�œ J�œ �œ�œ# �œ

�œ �œ�œ�œ�œ#b �œ ....�œ�œ�œ�œ#b j�œ

16

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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&

106 .�œ J�œ �œ �œb �œ

�œ�œ�œ�œ#bien rhythmé

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.�œ J�œ �œ �œ

j�œ ....�œ�œ�œ�œ# �œ�œ�œ�œ �œ �œ�œ�œ�œ#

.�œ J�œ �œ �œ �œ

�œ�œ�œ�œ �œ�œ�œ�œ# j�œ �œ�œ�œ�œ# j�œ

&

109

.�œ J�œ �œ �œ �œ#

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.�œ J�œ# �œ �œ �œ#

�œ �œ�œ�œ�œ# �œ �œ�œ�œ�œ# j�œ �œ�œ�œ�œ# j�œ

.�œ j�œ# �œ �œ

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&

112

.�œ J�œ# �œ �œ# �œ#

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�œrythmique

�œb �œ �œ �œ

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&

115

�œ �œ �œ �œ# �œ

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.�œ J�œsans lourdeur

�œ �œ

�œ �œ�œ�œ�œ## �œj�œ�œ�œ�œn �œ

j�œ�œ�œ�œ

.�œ J�œ# �œ �œ#

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&

118 .�œ J�œ# �œ �œ

�œ�œ�œ�œ �œ �œ�œ�œ�œ .�œj�œ�œ�œ�œ

.�œ J�œ �œ �œ

�œ �œ�œ�œ�œ �œ �œ�œ�œ�œ .�œj�œ�œ�œ�œ

�œrythmique

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�œ �œ�œ�œ�œ#b �œ j�œ�œ�œ�œ#b �œ j�œ�œ�œ�œ#b

17

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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t

42

42Pianoforte

Toque de São Bento Grande

.�œp

très léger et fondu par la pédale

tranquille et flottant

�œb

�œ

�œ�œ�œn

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?

t

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?

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?

t

10

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19

AP �• 400

Cinq petites mélodies No. 4 Rouge de l'est

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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16

�œ �œ

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19

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#

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?

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22

sortant de la brume

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25

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28

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�œ �œ �œ �œ �œ

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20

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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31

�œ �œ

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35 �œaugmenter

�œ# �œ �œ �œ �œ �œ# �œ �œ �œ# �œ �œ# �œ �œ �œ# �œ �œn �œb �œb �œ

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�œ �œ# �œ �œ �œ �œ# �œ# �œ �œ# �œ �œ# �œ# �œ �œ# �œb �œ �œn �œb �œ

?

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36 �œ#P

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les basses légèrement expressive (très sostenu de pédale)

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39 �œ �œ

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# �œ �œ �œ

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# �œ �œ �œ# �œ

?

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42 �œ �œ �œ �œ �œ

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�œ �œ

�œ

�œ

�œbb

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�œ

�œ

�œb

21

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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?

45

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48 �œ �œ#�œ

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? �œ �œb

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22

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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&

?

60

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�œ# �œ �œt

�œbcresc. poco a poco (augmenter)

�œ �œb �œb �œ �œb �œn �œb �œ �œ �œ �œn �œ �œ �œ �œ �œ# �œ �œ �œ#

�œ# �œ �œ# �œ �œ �œ# �œ �œ �œ �œ �œ �œ# �œ �œ# �œ �œ �œ# �œ �œ# �œ#

?

t

65 �œ �œ# �œ �œ �œ# �œb �œ �œ �œ# �œ �œb �œn �œb �œb �œ �œb �œn �œb �œ �œ &

�œ �œ# �œ �œ# �œ# �œ �œ �œ# �œ �œn �œ# �œn �œ# �œ �œ �œ# �œ �œ �œ �œ?

&

?

66

�œ �œ �œ �œ �œ �œ �œ# �œ �œ �œ# �œ �œ# �œ �œ �œ# �œb �œ �œ �œ# �œ

�œ �œ# �œ �œ# �œ �œ �œ# �œ �œ# �œ# �œ �œ# �œ �œ �œ# �œ �œn �œ# �œ �œ

&

?

67

�œb �œ �œb �œb �œ �œb �œn �œb �œ �œ �œ �œn �œ �œ �œ �œ �œb �œ �œ �œb

�œ# �œ �œ# �œ �œ �œ# �œ �œ �œ �œ �œ �œ# �œ �œ �œb �œ �œ# �œn �œb �œb

23

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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&

?

68 �œ �œb �œ �œ �œb �œb �œ �œ# �œn �œ �œb �œn �œ# �œ# �œ �œb �œn �œn �œ# �œ

�œ �œ# �œ �œb �œ �œ �œ �œ# �œ �œ �œ# �œ �œ# �œ �œn �œ#�œ �œ �œ �œb&

&

&

69 �œ �œ �œ �œ# �œ �œ �œb �œn �œ �œb �œ �œb �œ �œn �œb �œb �œ �œ# �œn �œ

�œ �œ# �œ �œ �œb �œ �œ# �œn �œb �œb �œ �œ# �œn �œb �œ �œ �œ �œ# �œ �œn

&

&

22

22

70 �œb �œ �œ# �œ# �œ �œb �œn �œn �œ# �œ �œ �œn �œn �œ# �œ �œ �œb �œn �œ �œb

�œ# �œ �œ# �œ �œ �œ# �œ �œ �œ �œb �œ �œ# �œn �œ �œb �œ �œ# �œn �œ# �œ#

&

22

22

Samba Partido Alto 71 �œ#F enivré

�œ �œ �œ# �œ# �œ �œ �œ#3

3

* à peu près sans pédale

�‰..�œ�œ#

�Œ �œ#

�œ# �œ �œ �œ#�œ# �œ �œ �œ#3

3

# �Œ �‰ j�œ#�Œ�œ

�‰ ..�œ�œ

�œ# �œ �œ �œ# �œ# �œ �œ �œ#3

3

�‰ ..�œ�œ# �Œ �‰ J�œ �œ �œ# �œ

&

74 �œ# �œ �œ �œ#�œ �œ �œ �œ3

3

�Œ �‰ j�œ�œ# �œ �œ#

�‰ ..�œ�œb

�œ �œ �œ �œ �œ �œ �œ �œ3

3 b�‰..�œ�œb

�Œ �œ

�œ �œ �œ �œ�œ �œ �œ �œ3

3

b �Œ �‰ j�œ�Œ�œ

�‰ ..�œ�œb

24

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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&

77 �œ �œ �œ �œ �œ �œ �œb �œ �œ �œ �œb3

3

&

.�œ j�œ b �œ3

�‰..�œ�œb

�Œ J�œ �‰ �‰3

?

�œP (sub) un peu marquè

�œ �œ �œ�œ �œ�œ �œ �œ �œ3 3

�œ�œ�œ �Œ �œ# �œ�œ�œ# �Œ �œ3 3

�œ �œ �œ �œ �œ �œ �œ �œ3 3

�œ�œ�œ �Œ �œ# �œ�œ�œ# �Œ �œ33

&

?

80

�œ �œ �œ �œ�œ �œ�œ �œ �œ �œ3 3

�œ�œ�œ �Œ �œ# �œ�œ�œ# �Œ �œ3 3

�œ �œ �œ �œ �œ �œ �œ �œ3

3

�œ�œ�œ �Œ �œ �œ�œ�œbbb �Œ �œn3

3

�œ �œ �œ �œ�œ �œ�œ �œ �œ �œ3 3�œ�œ�œb �Œ �œ �œ�œ�œbbb

�Œ �œ3 3

&

?

83

�œ �œ �œ �œ �œ �œ �œ �œ3 3

�œ�œ�œb �Œ �œ �œ�œ�œbbb �Œ �œn3 3

�œ �œ �œ �œ�œb �œ�œ �œ �œ �œ3 3�œ�œ�œb �Œ �œ �œ�œ�œbbb

�Œ �Œ3 3

&

�œF (sub) enivré

�œ �œ �œ �œ �œ �œ �œ3

3

.�œ j�œ b�‰..�œ�œb

�Œ �œ

&

86 �œ �œ �œ �œ �œ �œ �œ �œ3

3

&

b �Œ �‰ j�œ�œ �œ �œ

�‰ ..�œ�œb

�œ �œ �œ �œ �œ �œ �œ �œ3

3

�‰ ..�œ�œb b �Œ �œ

�œ �œ �œ �œ�œ �œ �œ �œ3

3

b �Œ �‰ j�œ�Œ�œ

�‰ ..�œ�œ

&

89 �œ �œ �œ �œ �œ �œ �œ �œ3

3

.�œ j�œ �‰..�œ�œ �œ �œ �œ

�œ �œ �œ �œ�œ �œ �œ �œ3

3

�Œ �‰ j�œ�œ �œ �œ

�‰ ..�œ�œ

�œ �œ �œ �œ �œ �œ �œ �œ �œ �œ �œ3

3

&

�‰ ..�œ�œ �œ3

�Œ J�œ �‰ �‰3

?

25

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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&

?

92

�œP (sub) un peu marquè

�œ �œ �œ�œ �œ�œ �œ �œ �œ3 3

�œ�œ�œ �Œ �œ �œ�œ�œ# �Œ �œ3 3

�œ �œ �œ �œ �œ �œ �œ �œ3 3

�œ�œ�œ �Œ �œ �œ�œ�œ# �Œ �œ3 3

�œ �œ �œ �œ�œ �œ�œ �œ �œ �œ3 3

�œ�œ�œ �Œ �œ �œ�œ�œ# �Œ �œ3 3

&

?

95

�œ �œ �œ �œ �œ �œ �œ �œ3

3

�œ�œ�œ �Œ �œ �œ�œ�œ# �Œ �œ3

3

�œ �œ �œ �œ�œ# �œ�œ �œ �œ �œ3 3

�œ�œ�œ## �Œ �œ �œ�œ�œ# �Œ �œ3 3

�œ �œ �œ �œ �œ �œ �œ �œ3 3

�œ�œ�œ## �Œ �œ �œ�œ�œ# �Œ �œ3

3

&

?

98

�œ �œ �œ �œ�œ �œ�œ �œ �œ �œ3 3

�œ�œ�œ## �Œ �œ �œ�œ�œ# �Œ �Œ3 3

&

�œp (sub) heurté

�œ �œ �œ �œ �œ �œ �œ3

3

J�œ �œ J�œ �œ�œ�œ# �œ �œ

�œ �œ �œ �œ�œ �œ �œ �œ3

3

�œ �œ �œ �‰ �œ�œ�œ# �œ �œ? &

&

101 �œ �œ �œ �œ �œ �œ �œ �œ3

3

J�œ �œ J�œ �œ�œ�œ# �œ

�œ �œ �œ �œ�œ �œ �œ �œ3

3

�œ �œ �œ �‰ �œ�œ�œ# j�œ? &

�œ �œ �œ �œ �œ �œ �œ �œ3

3

J�œ .�œ �œ�œ�œ# �œ

&

104 �œ �œ �œ �œ�œ �œ �œ �œ3

3

�œ �œ �‰ �œ�œ�œ# j�œ? &

�œ �œ �œ �œ �œ �œ �œ �œ3

3

�‰ �œ J�œ �œ�œ�œ# �œ �œ

�œ �œ �œ �œ�œtrès doux

�œ �œ �œ3

3

�œ �œ �œ �œ�œ�œ# �Œ �œ�œ�œ#3

?

26

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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&

&

86

86Pianoforte

accel.Bembé

�œF incisif

�œ# �œ �œn �œ �œb �œ �œ �œ# �œb �œn �œb

�Œ .sans pédale

�œb �œ �œb �œ# �œ �œ

�œau mouvement ( )

�‰ �œ�œ# �‰ �œ# �œ�Œ .

�œ�œ

�œle moins possible le pédale

�œ �‰ �œ �œb �‰�œ�œb �œ�œ

�‰ �œ�œ# �œ�œ# �‰ �œ

�œ �œb �‰ �œ �œb �‰�œ�œ �œ�œ

&

&

accel.

( )4 �œ�œ# �‰ �œ �œ�œ# �œ �œ�œ#

�Œ . �‰�œ

�œb �œ�œ �‰ �œb �œ�œ �‰�œ �œ ?

�œ �œ �‰ �Œ .�œ�œ# �œb �‰ �œ�œ�œb �œ�œ �‰ �œ# �œ�œb �‰�œ �œ

�œ#incisif

�œ# �œ �œn �œb �œn �œ# �œ �œ �œb �œb �œn�Œ .sans pédale

�œ �œ �œ# �œb �œn �œ &

&

&

7 �œau mouvement

très décidée

�œ �‰ �œ �œ �‰�œ�œ �œ�œ

�‰le moins possible le pédale

�œ�œb �œ�œb �‰ �œ

�œ �œ �‰�œ �œ

�‰�œ�œ �œ�œ

�‰ �œ�œb �‰�œb �œ�œ �œ �œ�œ�œ

�œ �œ�œ �‰ �œ �œ�œ �‰�œ �œ ?

�œ �œ �‰ �Œ .�œ�œ �œ �‰ �œ�œ ?

?

?

accel. accel.10 �œ �œ�œ �‰ �œ �œ�œ �‰�œ �œ &

�œ�œ �‰ �œ �œ �œ �œ�Œ . �‰ �œ�œ &

�Œ .incisif

�œ �œ �œ �œb �œb �œb

�œ#sans pédale

�œ# �œ �œn �œb �œn �œ# �œn �œ �œb �œb �œn

j�œau mouvement�‰ �‰ �œ �œ# �œ �œn �œb �œb

�œ# �œ# �œ �œn �œb �œn �œb �œ �œn �œb �œ �œn ?

&

?

13

�œau mouvement

puissant

�œ�œ# �œ �œ�œ##

�œ

�‰ �œ# �œ# �‰ �œ�œb �œ�œ

�œ �œ#�œ �œ �œ�œ �œ

�‰ �œ# �œ �‰ �œ�œb �œ�œ

�œ �œ�œ# �œ �œ�œ �œ

�‰ �œ# �œ# �‰ �œ�œb �œ�œ

27

AP �• 400

Cinq petites mélodies No. 5 Blanc du nord

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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&

?

accel. accel.16

�œ# �œ �œ# �œ�œ�œ# �œ#

�‰ �œ# �œ# �‰ �œ�œbb �œ�œ

�Œ .incisif

�œ �œ �œ �œb �œb �œb�œb �œb �œb �œn �œ �œ �œb �œb �œb �œn �œ �œ

j�œau mouvement�‰ �‰ �œ �œ �œ �œb �œb �œb�œb �œb �œb �œn �œ �œ �œb �œb �œb �œn �œ �œ

&

?

19

�‰au mouvement

héroïque

�œ�œ�œ�œ �‰

�œ�œ�œb �œ�œ�œb

�œ# �œ�œ �œ

�œb�œb

�‰�œ

�œ�œ�œ �‰�œ�œ�œb �œ�œ�œb

�œ�œb

�œb�œ

�œb�œ

�‰ �œ �œ�œ�œ �‰�œ�œ�œb �œ�œ�œb

�œ�œb

�œb�œ

�œb�œb

&

?

accel. accel.22

�‰�œ

�œ�œ�œ �‰�œ�œ�œb �œ�œ�œb

�œ�œb

�œb�œb

�œb�œ

�œ#incisif

�œ �œ �œb �œb �œn �œ �œ �œ �œ �œ �œ#�Œ . �œb �œ �œ �œ# �œ �œ

�œ#au mouvement�œ �œ �œb �œb �œn �œ �œ �œ �œ �œ �œ#J�œ �‰ �‰ �œb �œ �œ �œ# �œ �œ

&

?

accel. accel.25

�œ#au mouvement�œ �œ �œb �œb �œn �œ �œ �œ �œ �œ �œ#J�œ �‰ �‰ �œb �œ �œ �œ# �œ �œ

�œ#au mouvement�œ �œ �œb �œb �œn �œ �œ �œ# �œ �œn �œbJ�œ �‰ �‰ �œ# �œ �œ# �œb �œn �œn

�œau mouvement

très décidée

�œ�œ �‰ �œ �œ �œ�œ �‰�œ�œ

�œle moins possible le pédale

�œ �‰ �œ �œb �‰�œ�œb �œ�œ&

&

&

22

22

28 �œ �‰ �œ�œ �œ�œ �œ �œ�œ�Œ . �‰

�œ

�œ �œb �‰ �œ �œb �‰�œ�œ �œ�œ

�œ �œ �‰ �œ�œ �‰ �œ�œ�œ�Œ .

�œ �œ�œ �‰ �œ �œ�œ �‰�œb �œb ?

�œ�œbb �‰ �œ �œb �œb �œ �œbU

attendez

�œ �œ4:3

�Œ . �Œ �œ�œ?

�œ �œ�œ �‰ �ŒU

toujours toutes les cordes

�œb �œb4:3�œ

�œ �œ�œ4:3

28

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION

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22

22

Guaguancó 31 �œ�œ

étincelant

�œ �œ�œ �œ �œb �Œ�Œ(très enveloppé de pédales)

�œ�œb �œb �œ�œb�œ �œb�Œ �œ�œ�œ�œ#

�œ �‰ �‰ �œ �‰ �œb �‰ �œ�œ�œb �œb �œ �œ�œb �Œ �œ �œb�œ�œ�œ�œ#

�œ�œ �œ �œ�œ �œ �œb �‰ �œ�Œ �œ�œb �œb �œ�œb �‰

�œ �œb�Œ �œ�œ�œ�œ#34 �œ �œ �‰ �œ �‰ �œ �‰ �œ#

�œ�œb �œb �œ �œ�œb �Œ �œ �œ�œ�œ�œ�œ#

�œ �œ �œb �œ# �œ �œ �œ�œb �œ�œn �œ�œb�Œ

6 3

�Œ �œ�œb �œ �Œ �œ �œ�œ�œ�œ�œ#

�œ �œ �œ �œb �œb �œb �œ�œn# �œ�œ# �œ�œ �‰ �œ#6

3�œ�œb �œ �œ �œ�œb �Œ �œ �œ�œ�œ�œ�œ#37 �œ�œaccel. poco a poco

presses un peu

�œ# �œ �œ�œ �œ# �œ �Œ�Œ �œ�œb �œ �œ�œb �‰

�œ �œ�Œ �œ�œ�œ�œ#

�œ �œ �‰ �œ �‰ �œ �‰ �œ�œ�œ## �œ �œ �œ�œ## �Œ �œ �œ�œ�œ�œ�œ###

�œ�œ# �œ �œ�œ# �œ �œ �‰ �œ�Œ �œ�œ## �œ �œ�œ## �‰

�œ �œ�Œ �œ�œ�œ�œ###40 �œ �œ �‰ �œ �‰ �œ�œ �‰ �œ

�œ�œ## �œ �œ �œ�œ## �Œ �œ �œ�œ�œ�œ�œ###

�œ �œb �œ �œ �œb �œ �œ�œb �œ�œ �œ�œb�‰ �œ6

3�Œ �œ�œ## �œ �Œ �œ �œ#�œ�œ�œ�œ#

�œplus vif

�œ �œb �œn �œ �œb �œ�œ �œ�œ## �œ�œ# �‰ �œ6

3�œ�œb �œb �œ �œ�œb �Œ �œ �œ#�œ�œ�œ�œ#43 �œ�œ �œ �œ�œ �œ �œb �‰ �œ

�Œ �œ�œb �œb �œ�œb �‰�œ �œ#�Œ �œ�œ�œ�œ#

�œ �œ �‰ �œ �‰ �œ�œb �‰ �œ�œ�œb �œb �œ �œ�œb �Œ �œ �œ#�œ�œ�œ�œ#

�œ�œ �œ �œ �œ�œ �œ �œb �Œ�Œ �œ�œb �œb �œ�œb �‰

�œ �œ#�Œ �œ�œ�œ�œ#

29

AP �• 400

Cinq petites mélodies

FOR REFERENCE ONLY

NOT FOR PUBLIC

PERFORMANCE USE

DO NOT DUPLICATE

OR REPRODUCE

WITHOUT PERMISSION