BRAZILIAN MUSIC FOR BAND SERIES

NOVO TEMPO
(New Times)
music by
Ivan Lins

lyrics by
Vitor Martins

arrangement by
Hudson Nogueira
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
BRAZILIAN MUSIC FOR BAND SERIES

NOVO TEMPO
(New Times)

music by
Ivan Lins
lyrics by
Vtor Martins
Arrangement by
Hudson Nogueira

Patrocnio Realizao
SCORES FOR BAND PUBLISHING PROJECT

G ENERAL DIRECTION
FLAVIO SILVA / MARIA JOS DE QUEIROZ FERREIRA

T ECHNICAL DIRECTION , ADAPTATION, REVISION AND STANDARDIZATION

Marcelo Jardim

MUSIC PUBLISHING
Si Thoca Edies Musicais
www.sithoca.com
Simone dos Santos

P ROGRAM NOTES
Marcos Vincio Nogueira

CONSULTING TABLE INDICATING T ECHNICAL LEVEL

Dario Sotelo

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

Music Center (Cemus)
Rua da Imprensa 16, 13th Floor
Rio de Janeiro, RJ Brasil
CEP 20.030-120
Tel.: (21) 2279-8106 - Fax: (21) 2279-8088
coordenacaobandas@funarte.gov.br
www.funarte.gov.br
 BAND REPERTOIRE OF YESTERDAY, TODAY, AND OF ALL TIME

A The opportunity of resuming the process of publishing scores for band is a good rea-
son 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 issued, 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 tran-
scriptions from the Brazilian symphonic repertoire.

These issues 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 publish-
ing scores for band is searching for more dynamic ways to supply a market which is always eager
for novelties and information and seeking, at the same time, to keep the traditions of our coun-
trys musical culture alive and in performance. Making this repertoire available and sharing infor-
mation must be an ongoing and continuous task, so that it can produce good results. To this end,
Funarte concentrates its efforts to produce and present the band repertoire of yesterday, today,
and of all times.

III Brazilian Music for Band Series Novo Tempo

 ABOUT THE NEW EDITIONS...

W ith its 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 work, 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 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 (requinta), 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, con-
trabass (strings), timpani, keyboards (xylophone/bells or glockenspiel), percussion (snare drum,
pratos de choque, suspended cymbals, bass drum, agog, rattle, tambourine, ganz, triangle, reco-
reco, tambor, complete battery). 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.

Brazilian Music Series for Band

T 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 equi-
librium of sound in concerts taking place in closed spaces.

Maestro Marcelo Jardim

Technical Coordinator

Brazilian Music for Band Series Novo Tempo IV

 NOVO TEMPO
music by Ivan Lins
lyrics by Vitor Martins
arrangement by Hudson Nogueira

Instrumentation

*piccolo F Horn 1

flute 1 F Horn 2

flute 2 F Horn 3

*oboe 1 Bb Trumpet 1

*oboe 2 Bb Trumpet 2

*bassoon 1 Bb Trumpet 3

*bassoon 2 trombone 1

* Eb clarinet trombone 2

Bb clarinet 1 trombone 3

Bb clarinet 2 baritone

Bb clarinet 3 tuba

* Bb bass clarinet timpani

Eb sax alto 1 bells, xylophone

Eb sax alto 2 percussion 1 (suspended cymbal, clash cymbals, pan-

deiro, snare drum & bass drum)

Bb tenor sax 1 percussion 2 (drum set)

Bb tenor sax 2

Eb baritone sax

Extra Parts

Eb sax horn 1 Bb Baritone TC

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 func-
tion 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 Novo Tempo

 NOVO TEMPO
music by Ivan Lins lyrics by Vitor Martins
arrangement by Hudson Nogueira

T he short introduction (measures 1-8) reveals the two initial motives of the melody (in the
trumpets), without, however, developing them; it follows through with the repetition of
the motives in the form of a stretto a contrapuntal technique which consists of presenting the
same motive in parts (voices) which are apart from the textural structure, even partially super-
imposing them. That is why, in the allegro, a stretto from the principal motive concludes the intro-
duction, and begins the exposition of the theme. In the midst of a relatively simple texture, the clar-
inets begin the melody (measures 9-22), with rhythmic contributions from the saxophones and
brass that fill the little gaps left by the melodic phrasing. Although the contrast in timbre between
melody and accompaniment leaves no doubts with regard to the functions of each part, interpre-
tation must by very precise, so as to clearly distinguish the hierarchy of the various textural planes.
The section is repeated with the trombones (and, little by little, with the whole brass section) play-
ing the most important part; the configuration of the textural elements is similar to that used in
the initial exposition. The second section of the song (measures 37-51) is constructed from a sin-
gle motive, in the form of a descending scale. With respect to the interpretations buildup, how-
ever, it is interesting to note that the global movement of the section is entirely an upward-move
(as if this represented the impetus of the hope mentioned in the songs original lyrics); it is suf-
ficient to observe the linking of the final notes, upon which the melodic motives come to rest.
Interestingly, although the main motive of the initial section is based on the ascending impulse of
the triadic arpeggio even highly emphasized by its sequence in the second phrase (first per-
formed in measures 12-15) , this section presents a slight final descending curve, after it reach-
es the culminating point (measure 15, and measure 29 on the repetition). The sections continue
to alternate in a sensibly rich and varied orchestral game and a coda (measure 94) focuses, once
more, on the principal motive, now varied by the augmentation of the rhythmic values.

Marcos Vincio Nogueira

Professor of Harmony and Composition,
Universidade Federal do Rio de Janeiros School of Music

Brazilian Music for Band Series Novo Tempo VI

 IVAN LINS

I van Lins began his career as a singer, composer and pianist, in the year 1968, participating
of the first Festival Universitrio da Cano Popular, held by TV Tupi, with the song At o
amanhecer (Until the Dawn), written in collaboration with Waldemar Correia. He was one of the
founders of the MAU Movimento Artstico Universitrio (University Artistic Movement), by
1970, along with Csar Costa Filho, Silvio da Silva Jr., Aldir Blanc and others. In 1969 his song
Madalena, a collaboration with composer Ronaldo Monteiro de Souza, was very successfully per-
formed and recorded by Elis Regina, then one of the most important Brazilian singers. He stood
out as a composer in the 1970s with the songs Abre alas, Somos todos iguais nesta noite and Comear de
novo, all written in collaboration with Vitor Martins. In 1980 he recorded the album Novo tempo
(New times); in 1984 another successful release, the album Juntos (Together), celebrated the leg-
endary 10-year partnership with lyricist Vtor Martins, with brand-new recordings the duos great-
est hits. In 1985 he began to tour outside Brazil. The international recognition of his word led
Ivan Lins to establish his own publisher in the United States, linked to the producer of Quincy
Jones, and also to the recording of his songs by artists such as George Benson, Sarah Vaughan,
Ella Fitzgerald, Sting, and Barbra Streisand, as well as Quincy Jones. In 2005 he was nominated
for a Latin Grammy Award.

HUDSON NOGUEIRA (1968)

S axophonist, clarinetist, arranger and composer, Hudson Nogueira studied composition

with Edmundo Villani-Crtes. He was a musician of the Symphonic Band of the State of
So Paulo and member of the Banda Savana. In 2005 he made various appearances in Japan,
where he performed 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 of the Estado de So Paulo, Banda Sinfnica of
the Estado of So Paulo, Orquestra de Sopros Brasileira, Orquestra Paulista and Banda Sinfnica
of CSN. He composed original works for 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 the University of St.
Thomas. His arrangements and compositions are present on more than 20 CDs recorded in Brazil
and abroad. His works have been performed throughout the world; some of them have been pub-
lished by Wind-Gallery (Japan), Ruh Music (European branch of the American firm Barnhouse)
and DDP Brazil Music (United States).

Principal works: 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 Novo Tempo

 VTOR MARTINS

I n 1973, lyricist Vitor Martins composed with Ivan Lins the song Abre alas, first recorded by
Ivan as part of the album "Modo livre" (Free mode). This was the beginning of a fertile col-
laboration between the two artists a partnership that became almost exclusive as of 1977, with
the album Somos todos iguais nesta noite (We are all alike this evening). In 1991, Vtor Martins
and Ivan Lins founded together the record label Velas, aiming at recording and promoting new
talents in Brazilian popular music. The label was responsible for launching artists such as Guinga,
Chico Csar, Lenine, and Bel Veloso, among others. Many of the songs composed by Vtor
Martins were recorded by great Brazilian artists, such as Elis Regina e Simone, and also by inter-
national artists, such as George Benson, Sarah Vaughan, Ella Fitzgerald, Carmen MacRae, Barbra
Streisand, and Quincy Jones. Songs like Bandeira do Divino, Cantoria, Cartomante, Doce presena, Guarde
nos olhos, Iluminados, Lembra de mim, Lua soberana, Meu pas and Somos todos iguais nesta noite, are
amoung the most famous Brazilian songs of all times.

NOVO TEMPO
msica de Ivan Lins
letra de Vitor Martins
No novo tempo, apesar dos castigos que nossa esperana
Estamos crescidos, estamos atentos, seja mais que vingana, seja sempre um caminho
estamos mais vivos que se deixa de herana
Pra nos socorrer, pra nos socorrer, pra nos socorrer
No novo tempo, apesar dos castigos
No novo tempo, apesar dos perigos Estamos em cena, estamos nas ruas,
Da fora mais bruta, da noite que assusta, quebrando as algemas
estamos na luta Pra nos socorrer, pra nos socorrer, pra nos socorrer
Pra sobreviver, pra sobreviver, pra sobreviver
No novo tempo, apesar dos perigos
Pra que nossa esperana A gente se encontra cantando na praa,
seja mais que vingana, seja sempre um caminho fazendo pirraa
que se deixa de herana Pra sobreviver, pra sobreviver, pra sobreviver

No novo tempo, apesar dos castigos Pra que nossa esperana seja mais que vingana
De toda fadiga, de toda injustia, Seja sempre um caminho que se deixa de herana
estamos na briga
Pra nos socorrer, pra nos socorrer, pra nos socorrer !

No novo tempo, apesar dos perigos

De todos os pecados, de todos enganos,
estamos marcados
Pra sobreviver, pra sobreviver, pra sobreviver Pra

Brazilian Music for Band Series Novo Tempo VIII

Novo Tempo PARTITURA 6.0.qxd 5/7/08 5:06 AM Page 1

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Velas Produes Artsticas Musicais e Comercial Ltda. (Universal) / Oi Lua Produes Artisticas Musicais Ltda.
Funarte, Ministrio da Cultura, 2008
MBB0003 - Novo Tempo - Todos os direitos reservados / Impresso no Brasil
www.funarte.gov.br / projbandas@funarte.gov.br
Novo Tempo PARTITURA 6.0.qxd 5/7/08 5:06 AM Page 2

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FUNARTE Ministrio da Cultura

3 Srie Msica Brasileira para Banda Novo Tempo
Novo Tempo PARTITURA 6.0.qxd 5/7/08 5:06 AM Page 4

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* - - - -- -- (( *
3

! -! - (
3

2, 3
! ! !
"
%
17

! ' ' *
)
!/
Cl. Bx.
) ) ) )
& ( "
!0
% ( -- () (( !
)( 4 )) -- // * )) //
17

Sxa. 1, 2 E $ ! % ( %)
,
)
. &
! "
% ( 0
17

! ( ) -/ - ( ( * )/
Sxt. B $ ! & !
. "
% 0
! % ( )
17
) ) -/ %- ) ) ) * )/
Sx.bar. E $ ! & ) !
. "

( (
17

1 ! ( ' ' '

&
Tpas. F 17

2, 3 ! (( )( %) 4 (( ' ' '

&
% 0 ! ! ! -5
+ ,- - -/ - - -
17

! * - ) 3 3 - - ( 3 '
1 , ! - - &
Tpts. B $
. 1 . .
%
+ ,- - -/ 0 !- - - --5
17

* 3 3 3 '
a2
2, 3 ! , - ) -! - - -- () )
. !
1 !
. .
!- - - !- & -5 !
"$ ) -/ , -! - - -
17

' ' 3 ' 3

1 ! .! & . .
Tbns. 3 .- - - - --5 - !-
" - )) -- // -! -
17

' ' ' 3

a2
$ ,
2, 3 3 * + !, & . .
.
"$ ( ) ) -/ 0 0
17

Bomb. ) 4- ) ) ) -/ - * )/
& .
! & 6 !
"
.
"$
17

) 0 *
Tb. ) ) ) ) ) 4) ) ) !- / - )/
.6
!
"
" ) ) ) -! / 0
17

Cb. $ ) ) ) 4) ) ) - * )/
6 !
"
.
"$
17

Tmp. ' ' ' ' ' '

17

Tecs. !$ ' ' ' ' ' '

(xilo / bells)
17
Perc. 1
pt. sus., pand. # ' ' ' ' ' '
cx., bmb.

* * * * * * * * * * * 2
Break pt. choque
2 2 2 2 2 2 2 2 2 2 2
17

# 3
Virada
Perc. 3
) ) ) ) ) ) ) ) ) -/ - * )/
,
bat.
.
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5
23

Pic. !$ ' ' ' ' ' '

Fls. 1, 2 !$ ' ' ' ' ' '

Obs. 1, 2 !$ ' ' ' ' ' '

!3 !3
"$ / * )( / * )(
' ' ' ' * * )(
Fgts. 1, 2 * * )(
! ! ! !
,
%
Cl. E $ ! % ' ' ' ' ' '
(req.)

% )( *! !* . 1)( *! !* . ! !
1 ! / *( ) / *( )
&
Cls. B $
%
! )) (( ** ** .. )) (( *!* ** .. / * ((
* )) / ** (( ))
2, 3
& ! ! ! ! !
%
Cl. Bx. ! ' ' ' ' ' '

% )( **! !** .. 1 )) (( **! !** .. !* ( )) !* ( )

Sxa. 1, 2 E $ ! % )( / *( / *( )
&
!
% )( *! !* . )( !* !* . / *( / *( )
Sxt. B $ )
& ! !
%% !
! )( / *( ) / *( )
Sx.bar. E $ *! * . )( *! * . !
& ! !

23

! ' / * * * * * * 2 ' '

1
! * * * )( )
Tpas. F 0 ! !
' / * * * * * * 2 ' '
a2
! * * * )(
2, 3
! )
0 ! !
%
1 ! ' ' ' ' ' '
Tpts. B $
%
2, 3 ! ' ' ' ' ' '

!
"$ *
( !* ) !
* * * * * * !* * !* ) (
!
* *! * * * * * / * *! * * !* * * * * *
1 + / *(
+ / * *!
!
Tbns. *( !* ) !
* * * * * * !* * !* * * * !* * * * * *
"
$ + / * !* ) ( *( * *! * / * *! * / * *!
2, 3 +
"$ !
Bomb. ' ' ' ' / *( ) / *( )
!
&
"$
Tb. *! * )
! (
*! * ) (
!
*! * ) (
!
*! * ) (
! !* !* ) ( !* !* ) (
,
" !* !* ) ( !* !* ) ( !* !* ) ( *! !* ) ( *! !* ) ( *! !* ) (
Cb. $
,
"$ ' ' ' ' ' '
Tmp.

Tecs. !$ ' ' ' ' ' '

(xilo / bells)

Perc. 1
pt. sus., pand. # ' ' ' ' ' '
cx., bmb.

Perc. 3 # - - *- - - - *- - - - *- - - - *- - - - *- - - - *- -
bat. * * )( * * )( * * )( * * )( * * )( * * )(
,
FUNARTE Ministrio da Cultura
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6
* ** !
** *5
).
29

Pic. !$ ' ' ' ' ' ' /

& 3
* * !* 2 !
*+ ** 22 ** ++ *
) * .* . * * * *! **5
29 a2

!$ ( ) ' ' /
. .
Fls. 1, 2
& 1 & 1 & 3
+* *, - * 5
) *. .* - *+ * * * *! **
29

Obs. 1, 2 !$ ' ' ' ' / * * 2 *+ . ***

! 1
+ !, & & 3
* 3 * * ! !* *! +
" * * - +* -
) * 2
a2

* **5
29

$ / ' ' ' ( *+

Fgts. 1, 2
! ! & .
4 &
* * !* , + ! *+ *
% 2 ) * * * *. 2 . * * * !* *5
29

Cl. E $ ! % ( ) ' ' /

.
(req.) & 1 & 1 &
*! * * +* ! * * * ! *5
3

% + !* - * - *+ * .* % * - *+ **
) * - - .
29

! . ' ( .
1 .
& 1 & 1 &
Cls. B $
3

!
% , * *! *5
29 3

2, 3 ! ) **
+
** --
!
' ( *! * * ** -2 - -- ++
* 2
** * 2
* ++
* . *** *
& 1 ! &
%
29

! ( / ) , ' ( ,
Cl. Bx. * 2 - - *! + *
&
! 1 - - 2 6
4 &
% *+ !* * + !* 22 22 **! ++ **5
-2 3 22
29

Sxa. 1, 2 E $ ! % ) * * *+
.
*
. %- ' ( .
& 1 4 &
% *+ !* * + !* 2 *! + *5
29

! ) 2 2 2 ' ( .
Sxt. B $ . .
& 1 4 &
%% + !* * + !* ,
) * 2 2
29

! - 2 ' ( *
Sx.bar. E $ . . - *! + 6
& 1 4 &
29 ! !
' / * * * ' ' / * * * * *
3 3

! * 2 2
1 *! !
Tpas. F 29 &3 &3
! ' / * * * * 2 ' ' / * %*
a2
2, 3 *! ! * * * 2
& & ! !
%
29

! ' ' ' / * * * *! * 2 ' '

3

1
!
Tpts. B $ &
% !
)* * *
29 a2

! ( * ) / ( ' / * * * *! * 2 ' '

3

2, 3 . !
& &
*+ !* - * *3 * * !* *3 * * *! !* *! + *5
"
29
. *!
2 *3 * * *! !* 2 - .
1 $ / /
!* - &3 4 &
Tbns. *+ * *3 * * ! !* 2 *3 * * *! !* ** 3 ** * *! !* -- !* + **5
" . * 2 * * *
29

2, 3 $ / / *+ .
& 4 &
" + !* * + !* 2
$ ) *
2
29

. . - 2 ' '
Bomb. -
& 1
"$
29

,
*! * * - *! * * *! * * 4*! +
Tb.
*! * - + *! * - + ! ! - *! * * - 3 *! * * - *
! ! ! !
! &6
" * !* - +
! !* !* - + *! !* * - !* !* * !* !* * !* !* * *! + ,
29

Cb. $ - - 3 *! * * - *
! 4 6
&
"
29

Tmp. $ ' ' ' ' ' ' '

* **
). ** *
29

!$ ' ' ' ' ' ' /

Xilo.
Tecs.
(xilo / bells) & 3
29
Perc. 1
pt. sus., pand. # ' ' ' ' ' ' '
cx., bmb.
Break

0 0 *0 0 0 0 *0 0 0 0 *0 0 0 0 *0 0 0 0 *0 0 0 0 *0 0 0 0 *0 00
29
Perc. 3 #
* * -+ * * -+ * * -+ * * * - * * * - * * * - * * * *+ *
bat.
.

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7
36 37

Pic. !$ ' ' ' ' ' '

36

Fls. 1, 2 !$ ' ' ' ' ' '

36

Obs. 1, 2 !$ ' ' ' ' ' '

!/ 3
" . /0 3
36

Fgts. 1, 2 $ ' ' ' ' , (

& -

%
36

Cl. E $ ! % ' ' ' ' ' '

(req.)

% !/ 3 * !/ 3
. / / . / /
36

1 ! ' ' ,
- -
& &
Cls. B $
% ** !
. / / // 33 . / / // 33
36

! ' ' ,
/ / ! -
2, 3
& & -
%
36

Cl. Bx. ! ' ' ' ' , ( . 1

/ 3
!
!/ * & -
%
36
/ / !/ / / ! / / !/ / / ! !/ * / / !/ / / / !
! % ' . / / /) 0 . / / /) 0 . /
a2

Sxa. 1, 2 E $
&
36
% ! !/ * ! !/ * !
! ' . / / / / / / / . / / / / / / / . / / / / / / /
Sxt. B $ /) 0 /) 0
& ! ! !
/ / !/ / / / ! !/ * / / !/ / / / ! !/ * / / !/ / / / !
%
36

Sx.bar. E $ ! % ' . / /) 0 . / /) 0 . /
&

36 37
* /) !/ * /) !/ * /) !/ 3
1 ! ' 0 0 0 '
Tpas. F
-
1 1 1
36

2, 3 ! ' ** // )) // ** // )) // ** // )) // 33 '
- ! ! !
36
% !* ) ! !
( 1 '
3.

1 ! * /) /
0
* /) / * /) /
0
3
! - !
Tpts. B $
% !* ) ! 1 !
36

! ( *) * /) / * /) / * /) / 3 '
3.

2, 3 0 ! 0
!
!* ) !/ !/ * !/ !/
* /) * /) /) * /) 3
" ( 0 0
36

1 $ 0 0
! -
Tbns. ! !/ !/ !/
" ( ** )) * /) / ** // )) * /) / ** // )) /!/ 33
36

$ * /) 0 / * /) 0 0
2, 3 0
! - !/ * !/ *
" ( *)
36
/ / / / / ! / / !/ / / ! / / !/ / / !
Bomb. $ . / / /) 0 . / / /) 0 . / /
! &
!
"$ (
36

Tb.
*) /" / * ) /" / * ) /" / * ) /" / * ) /" / * )
!! 2! ! ! ! !
" ( *)
36

Cb. $ /" / * ) /" / * ) /" / * ) "/ !/ * ) "/ !/ * )

! 2 ! ! !
!
"
36

Tmp. $ ' ' ' ' ' '

36

Tecs. !$ ' ' ' ' ' '

(xilo / bells)
36
Perc. 1
# ( ' ' ' ' '
pt. sus., pand.
*)
cx., bmb. &!
!
pt. choque
( + Virada + + /+ + + + /+ + + + /+ + + + /+ + + + /+ +
conduo (ride)
36
Perc. 3 # ,
bat. ( *) / / *) / / *) / / *) / / *) / / *)
& 2
FUNARTE Ministrio da Cultura
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! 8
42 44 %* .* * - 2 -
Pic. !$ ' ' ) (
&
! !
% * * ** -- . -- % * . * ** -- 22 -- %* .* !
*
42

!$ ( ) ) )
Fls. 1, 2
& 1 &
!
. -- ) % * . * ** -- 22 --
42

Obs. 1, 2 !$ ( ) % * * ** -- ) % * . * % **
& ! 1 !
** ++ !* - & % !*
"
42

$ * - ' ' ' ( 3 ) *,

Fgts. 1, 2 ,
&
!* - !
%% - %* %* * - 2 - %* %* !
) %* *
42

Cl. E $ ! ( ) ) *
(req.) & 1 &
% *+ !
%* *+ !
.* - - !*
) %* %*
42

1 ! , , ' ' (
&
Cls. B $ !* * +
42
% ** ++ !* -- -
! * *+ * %- ' ' ( ) % % ** % ** **
2, 3 , , !
&
%
42

Cl. Bx. ! *+ / ' ' ( 3 ) /

* - *! !* - + *
! !
!* - ! &
%
42
, * % * !* * * * ! % ** -- 22 % 22
Sxa. 1, 2 E $ ! % *+ ) * *+ ,

% !* - !
) * %* * * * * * % !* - 2 2
42

Sxt. B $ ! *+ , *+ ,
!
!* - * % * !* * * * ! !
% , %* - %2 %2
42

Sx.bar. E $ ! % *+ ) * *+ ,

44

!
) %* * .* - - %2 %2
42

1 ! ( %2
& 1 &
Tpas. F 42
/
2, 3 ! ( ) * % * ** -- % -- % % ** ++ % ** -- 22 22
& ! 1 & !
! !* -
% ) */ % * *5 !
*! % * * * *+
42

1 ! ' ' ( 3 ,
Tpts. B $
&
! !* -
% ) */ % * *5 !
*! % * * * *+
42

' ' ( 3
a2
2, 3 ! ,
&
*+ !* * + !* -
"$
42
.-
1 , , ' ' '
Tbns. ! !
" *+ % ** ** ++ . ** 22
42

2, 3 $ *+ , , ' ' '

!* - * . * !* * * * ! %*
" $ *+ , % !* - %2 %- *+
42

Bomb. ) * *+ , ,

"$
42

Tb.
*! * - + * * * *
! *! * - + * * * * * * * *
! &
" $ * !* - +
! * * * *
42
pizz

Cb. *! * - + * * * * * * * *
! 4
"$
42

Tmp. ' ' ' ' '

42

Tecs. !$ ' ' ' ' '

(xilo / bells)
42
Perc. 1
pt. sus., pand. # ' ' ' ' '
cx., bmb.

42
0 0 *0 0 0 0 *0 0 0 0* + 00 0* + 0 0 *0 + 0 0 *0 + 0 0 0* + 0 0 0* + 0
Perc. 3 #
bat. * * -+ * * -+ * * * * * * * * * * * *

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9 ()
47 !( / ( 3( (
Pic. !$ & & & 0 . 1 3 0
,
( ( /( (()
' - '
a2
- !( / ( ( ( !- +
3
47

Fls. 1, 2 !$ . . 1
,

. ( ( /( ' - 2
( /( (
( (() -+
47

!$ '' / -- ' - . -
!+
3

Obs. 1, 2
!
,
' ' / '' / -- !(
" . 1 ( ( ( -+
47

Fgts. 1, 2 $ ' ' 3

(
5 -+
!
( ( %( )(
%
47
' - !( % ( ( ( !- +
Cl. E $ ! % ' -
3

. . 1
(req.)

% ' -+ ( - 2 ( () !- +
' ( %( (
47

! .
3

1
!
Cls. B $
% 2
( %( (
( / (()
47

2, 3 ! '' / -- ++ % (( '' % -- .
3
-- ++
! !
% !
47

! . % 1( ( ( (
' ' - ( -
!+
Cl. Bx.
' 3
5
)
%
47 ( ( %(
'' -- !( % ( 3( ( / (( / !-- ++
! % & 0 . .
a2

Sxa. 1, 2 E $ 1
,
%
. ( ( %(
2 3( ( () !- +
47

! & 0 ' %- . ( (
Sxt. B $ !
,
%
47
' - % !( ( (3 !- +
Sx.bar. E $ ! % & & . 1 ( (
, 5

47

1 ! & & & & &

Tpas. F 47

2, 3 ! & & & & &

!( ( + !(
% % (! ()
!( (+ 2 (! () !
(! ( ( ( (+ -
( !(
(! % ( (
47

1 ! 1 ( 1 0 (! (
"
Tpts. B $ !( ( + !( ,
% % (! ()
!( (+ 2 () !( ( ( !( (+ !
(! % ( ( % (( --
(! ( ( ((
47

! 1 ( 0
2, 3 1 !
" ,
(! () !
(! ( ( ( (+ !( - !(
"$ . (1 1 (! ( (
47

1 & 0 3 0
, " ,
Tbns. (! () !( ( ( !( (+ / !(( -- !( ( ( !((
" . (1
47

2, 3 $ & 0 3 1 0
, " ,
' -+ 2
" /'
47

Bomb. $ ( /(+ ( - ( -+
! 5 !
"
" ,
"$
47

Tb. ( ( ( ( ( ( ( ( ( (
( ( ( ( ( ( ( -+
5 "!
"
47
( ( ( ( ( ( ( ( ( ( arco
Cb. $ ( ( ( ( ( ( ( -+
5 !
"
"$
47

Tmp. & & & & 3 -+

!
,
( ( (
47 Xilo. ( /( (
Tecs. !$ & & & 0 . 1 3 0
(xilo / bells) 4 3

47
Perc. 1
# & & & & 3
-
!+
pt. sus., pand.

,
cx., bmb.

*
(* + * * (* + * *
*( + * * *( + * * *( + * * *( + * *
(* +
* *
(* +
* * Virada
pt. choque
*
47

Perc. 3 # 0
bat. ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( -+
,
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10
52

Pic. !$ ( ( ( ( ( (

!
* * * * * * !* * !* , +
!$ ( . ( ( (
a2

Fls. 1, 2
&
!
!$ ( . * * * * * * * ( ( (
a2
Obs. 1, 2 * * ,+
! !
&
" $ )* * , + )*
* ,+ )* * ,
+
)* * ,
+ ( (
Fgts. 1, 2 ! ! ! ! ! ! !
' !
!
% * * * * * !*
Cl. E $ ! % ( . * * !* , + ( ( (
(req.) &
!
% * * * * * * !* * !* , +
1 ! ( . ( ( (
&
Cls. B $
% ! !
2, 3 ! ( . * * * * * * * * * ,+ ( ( (
!
&
%
Cl. Bx. ! ( (
*! * , + *! !* , + *! !* , + *! !* , +
& !
% * * !* ))
! % - . * 3 )) ( ( (
Sxa. 1, 2 E $
& '
% !
! - . * * * ) ) ( ( (
Sxt. B $
& '
%
Sx.bar. E $ ! % - / . 0 ( ( (
!* ) )
& '

!* * !
52

1 ! ( ( - $* * ) ( (
Tpas. F - &! ! '
( ( * * $* ( (
2, 3 ! - *+ ** ))
1
& ! '
% *+ !
* ,
! !
. * * * * * * * * * ,+ /
!
. *0 *! * * * * * . * *! * * !* * * . ! * * !*
1 ! 1 * *
!
Tpts. B $
%
** ++ 0 ! !
. * * * * * * * /
!
. *0 !* * * * * * . * *! * * !* * * . * *
* * ,+ * *! * !*
a2
2, 3 ! ** ,,
! !
!* * ! !*
*+ !* , $* * ) ) , *+
"$ 1 ( - 1
1
& ' &
Tbns. !* , ! !* !*
"
$
** ++ * ,
1 ( - $ ** ++ * )) )) ,, ** ++ *
1
2, 3 1
& ' &
* * ! !* ) !
"$ - . * ) , $ !* + ) 3, *+ *
Bomb. 1 1
& ' & ' &
"$
Tb. *! * ,+ *! * , + *! * , + *! * , + *! * , + *! * , +
! ! ! ! ! !
'
" $ *! !* , + *! !* , + *! !* , + * * ,+ !* !* , + *! !* , +
Cb.
'
"$ ( ( ( ( ( (
Tmp.

Tecs. !$ ( ( ( ( ( (
(xilo / bells)

Perc. 1
# * + * * + * !* * + * * + * * + * !* * + * * + * * + * !* * + * * + * * + * !* * + * * + * * + * !* * + * * + * * + * !* *+ *
Pandeiro
pt. sus., pand.
cx., bmb. '

Perc. 3 # 2 2 *2 2 2 2 *2 2 2 2 *2 2 2 2 *2 2 2 2 *2 2 2 2 *2 2
bat. * * ,+ * * ,+ * * ,+ * * ,+ * * ,+ * * ,+
'
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11
58

Pic. !$ ( ( ( ( ( ( (

-3 - - ! !- -5
58
-
3 -! - -
!$ ( * ( ( ( )
a2 a2

Fls. 1, 2
' '
* - - - -- -5
-! - -
58 a2

!$ ( 3 ( ( ( )
3 a2
Obs. 1, 2
' !! !.
!- 3 0 '
3 ) * + -- 03 33
"$ ) + -, 3 3
58

* ( ,
Fgts. 1, 2 ) * +
' 2
& !

%% -3 - - ! !- 3
-
58

Cl. E $ ! ( * ( ( ( (
(req.) '
% - - - -! !- 3 -5
-! - -
58 3

1 ! ( ( ( * ( )
' " '
Cls. B $
% -5
* - - - - -- 33 -! - -
58

! ( ( ( ( )
3

2, 3 !!
' " '
%
* + -. 3
58

! ) * + . ( ) 3
Cl. Bx. - 3 0 !
! 0 ' 2
' 2
! !. / !.
% -3 - - -! !- .
+ - - -- 33 33 -- // - ,- - -- 30 33
58

Sxa. 1, 2 E $ ! % ) * - , ! / ,
0
' 2 ' ! 2
! /
% +--- 3 - ,- - % !- 0 0
58

! ) 3 * - - - -- -/ , 43
Sxt. B $
3

2 !! ,
' ! ' 2
% ! - - - -! ! !- 3
+--- 3 3 3
58

! % ) * - 0
3

Sx.bar. E $ -/ ,
' 2 ' 2

+--- 3
! 3 .! !
-/ ,- 3 3
58

1 ! ) ( * + - ,-
' 2 ' 2
-/ -.
Tpas. F
+ -. ,!-
!
+ - - -- 33
58

2, 3 ! ) 33 ( * %- 00 00 4 33
2 ' !
' 2
% -/ !- 0
* - - - !- - * - - - -!
! 3 !- 3
58

! , ( (
3 3

1
'
Tpts. B $
% -/ !- 0
* - - - !- - * - - - -
58 a2
! 3
! -/ - 0 ( ( -- 33
3 3

2, 3 , ' ! !
-/ !- 0 -! - - !- 0 %0 43
"$ ,
58

1 ( ) ( (
'! 2
Tbns. -/ !- 0 - - - !- 3
" $ -/ - 0 - 3 33
58

2, 3 , ( ) ( (
' 2
" $ -/ ! / !- 3 0 - / ! 0 !- 3 3
58

- - - 0 0 -/
Bomb. , , , ,
2
"$
58

Tb. -! - - 0 -! - - -! / .
-! - 0 / -! - 0 / ! ! 0 -! - - 0 4 -! - - 0 -! - - -
! ! ! ! ! 6
" $ !- !- 0 / !- !- 0 / -! !- - 0 !- !- - !- !- - !- !- - -! / .
58

Cb. 0 0 4 !- - - 0 -
! 6

"$
58

Tmp. ( ( ( ( ( ( (

58

Tecs. !$ ( ( ( ( ( ( (
(xilo / bells)

- / - - / - !- - / - - / - - / - !- - / - - / - - / - !- - / - - / - - / - !- - / - - / - - / - !- - / - - / - - / - !- - / - - / - - / - !-
58
Perc. 1
# -/ -
Break

pt. sus., pand.

cx., bmb.

1 1 -1 1 1 1 -1 1 1 1 -1 1 1 1 -1 1 1 1 -1 1 1 1 -1 1 1 1 -1
Break
1
58

Perc. 3 #
bat. - - 0/ - - 0/ - - 0/ - - 0/ - - 0/ - - 0/ - - 0/

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12
! ( !(
66
(+ !( , !
"( ( ( ( " ( ( ( ( ( " (
1 (/ ( 1 ( (
65

Pic. !$ ' / ) ) *
& &
! (( ++ ! ( ( 1 ( (" ( ( !(
((" (( (( (( " ( ( (
!( ,
( ,
1 (/ (
65

!$ ' ) ) *
a2

Fls. 1, 2 /
&
( !( (( ++ !( , !
65

!$ ' ((" (( ( ( ( , 1 ( ( ( ( ( ( ( ' )

a2
Obs. 1, 2 / ( ( ,+ ,
! !
& !
a2 ( ( ( ( ( ( !
"$ ( ( !( , + ,
65

Fgts. 1, 2 ) ) 1 ' )
&

% "( ( ( !( (+ !( , " ( !( ( ( 1 ( (" ( ( !(

1 (/ ( (
65

Cl. E $ ! % ' / ) ) *
(req.) & &
!
(" ( ( ( (+ !( ( + !(
% / 4 54 !
1 (0 (" ( ( ( ( ( 1 ( (" ( ( !(
65

1 ! ' / *
3 &
Cls. B $ ( !( (( ++ !( ( +
% ((" (( ( ( ( (+ !( 4
1 (0 ( ( ( (( 44
65

! ' / ( 4 44 *
/ 3 & "
2, 3
!
3
%
65

Cl. Bx. ! ' (" ( 0 ) ) ) )

( ( (+
& ! !( ,
( !( (( ++ !( , !
( ( ( ( ( !( " ( !( ( ( ( !(
%% ((" (( ( ( ( , 1 ( ( !( , + ( 1 (/ ( ( 1 ( (" (
65

! '
Sxa. 1, 2 E $ /
&
% ( !( (+ !( , ! ! ! ( ( 1 ( " ( ( !(
(" ( 1 ( ( ( ( ( ( ( 1 (0 (" ( ( (
65

! ' ( ( ,+ ( (
Sxt. B $ / !
&
%% (" (
65

! ' 0 ) ) ) )
Sx.bar. E $ ( ( (+
& ! !( ,

!( ( ( !
1 ( ( ( ( ( !( , +
65 66

1 ! ) ) , ' 4
& 3
Tpas. F !( (
1 (( (( ( ( (( (( (
! ( ( ,+
65

! ) ) , ' 44
2, 3 ( ( ( ,+ ,
! 3
!, + !( &
% * 1 ( (
65

1 ! ' ) ) ) )
! &
Tpts. B $
% !
* ,, ++
!
1 ( ( ((
65

2, 3 ! ' ) ) ) )
! &
!, +
( ( !( $ (" ( ( !( 4 4
"$
65

1 * ' 1 ) '
! & & 3
Tbns. !, + ( ( !(( $ "( ( ( !( 4 44
"$ * ,+ ( 4
65

2, 3 ' 1 ) '
! & !( & 3
(+ 4 4
"$ , 4
65

Bomb. * ,+ / )
!
! & 3 3
"$
65

*
"( ( ,
! +
(" ( , + (" ( , + (" ( , + (" ( , +
Tb.
,+ ! ! ! !
!
! 2
"$
65
"( !( , + (" !( , + "( !( , + (" !( , + (" !( , +
Cb. * ,+
! 2
!
"$ *
65

Tmp. ,+ ) ) ) ) )
!
&
! (+ !( ,
( ( ( ((
65

!$ ' (+ ) ) ) )
Bells
( ,
Tecs. /
(xilo / bells) &
Perc. 1
65
!, + ( + ( ( + ( !( ( + ( ( + ( ( + ( !( ( + ( ( + ( ( + ( !( ( + ( ( + ( ( + ( !( ( + ( ( + ( ( + ( !( (+ (
# *
Pandeiro
pt. sus., pand.
-
cx., bmb. ! 2
*
(. '
pt. choque
. . (. . . . (. . . . (. . . . (. . . . (. .
65

#
Virada
Perc. 3
bat. * ,+ ( ( ,+ ( ( ,+ ( ( ,+ ( ( ,+ ( ( ,+
& 2
FUNARTE Ministrio da Cultura
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Novo Tempo PARTITURA 6.0.qxd 5/7/08 5:06 AM Page 13

13 ! &. !& -
& & & &
' & &! & ,
71

Pic. !$ ( ( ( (
! &. !& -
& & & & &3 & & !
!& & 1
' & &! & ,
71

Fls. 1, 2 !$ + ( (

&&3 && && ! !

&& && 1
71

Obs. 1, 2 !$ ( ( ( ( + 1
*
!& 11
"$ ' &,
71

Fgts. 1, 2 ( 0 + ( ( (
"
! &. !& -
%% & & & & &3 & & !
!& & 1
' & &! & ,
71

Cl. E $ ! + ( (
(req.)

% & & ! &. !& - &3 & & &! !& 1

' & &! & & &
71

1 ! , ( ( +
*
Cls. B $
% !& - &3 & & &! !&& -
' &) & & & && & .. -1
71

! && & & - ( ( +

2, 3 ! ! , *
*
%
71

Cl. Bx. ! ( 0 + ' &) 1 ( ( (

"!
!& && .. !& - &3 & & !
% % & & ' & &! & & & & - + & & &
! &
&& &
11 1- - 1-
71

! , -
Sxa. 1, 2 E $
2
! !& - !
% & & ' & & &.
+ & & & &! & 1 - %- 31
71

& &! & ,

3

Sxt. B $ !
2
% & !& &. !& -
&! !& 1
' ,& !& & + & & & 1 1
71

! % + ,
3

Sx.bar. E $
* 2

- 1 1 1 1
71

1 ! - (
2
Tpas. F 71

2, 3 ! -- -- 11 ( 11 -- % -- 3 -1 -
2
! !&
% ' & & &
1
' & ,& &4
71

! ( 0 ( ( + ,
1 ,
Tpts. B $ * " *
% !
' & & && 11 ' & ,& &4 !&
71

! ( 0 ( ( + &
2, 3 , ,
* " *
- - !
& & & 1 &! & & !& - %- 3&. &4 !&
"$ & ,& ,
71

1 0 ' 0 ,
* " *! " *
- -- & & !&& 11 & & & !& - %- 3&. &4 3 &!&
& ,&
Tbns.
"$ -
71

0 ' 0 , ,
a2
2, 3
* " * " *
"$ - - 1 1 1 1
71

Bomb. (
2
"$
71

Tb. &! & - . &! & & - &! & &

! &! & - . &! & - . ! ! - &! & & -
! ! !
!& !& - . !& !& - . !& !& - . !& !& & !& !& & !& !& &
" -
71

Cb. $ - -

"$
71

Tmp. ( ( ( ( ( (

71

Tecs. !$ ( ( ( ( ( (
(xilo / bells)

& . & & . & !& & . & & . & & . & !& & . & & . & & . & !& & . & & . & & . & !& & . & & . & & . & !& & . & & . & & . & !&
71
Perc. 1
pt. sus., pand. # &. &
cx., bmb.

/ / &/ / / / &/ / / / &/ / / / &/ / / / &/ / / / &/ /

71
Perc. 3 #
bat. & & -. & & -. & & -. & & & - & & & - & & & -

FUNARTE Ministrio da Cultura

13 Srie Msica Brasileira para Banda Novo Tempo
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14
(3 ( ( !
(! ( +
77 80

Pic. !$ ' * * * *
&
((3 ) (( (( ! !( ,
((! (( ++ ( ( !( ( (
( !( (-
( ,
77

!$ ' * 0 1 *
Fls. 1, 2
& &
!
' (( ) (( (( ! ( + ( ( !( ( (
( !(
!( ,
77

!$ (( ( + * 0 (- ( , *
3

Obs. 1, 2 1
& &
!, -- , (- !( , (- !( , (- !(
"$ , ( , (- (
77

* * ' , (- ( , (-
Fgts. 1, 2 1 1 1
" 4
(3 ( ( !( + !( ,
% (! ( ( !( ( (
( !(
77

Cl. E $ ! % ' * 0 (- 1 *
(req.) & &
( ( !( ( ( !( , ( ( !( ( (
% (3 ( ( (! !( + ( !( (- ( !(
77

1 ! ' * 0 1 0
&
Cls. B $
% ( ( ! !( , ( ( !
0 ( ( (( (( (( (( (( 0 ( ( (( (( (( (( ((
! !
' ( %( (
77

! (( (( ++ * (( -- ( ,
3

2, 3 ! ! 1
&
%
77

! * * ' ,-
Cl. Bx.
! (! ( , - (! ( , - (! ( , -
" 5 ! ! !
% +
77
++ !, - ( ( !( ( ( ( !
Sxa. 1, 2 E $ ! % , , ' ,- * * 0 (
" &
% ,
77

Sxt. B $ ! %, )+ ' ,- * * *
!
"
% /
! % +
77

, (- ( ' ,- * * *
Sx.bar. E $ ! !
"

+ +
77 80

1 ! * * * *
Tpas. F 77

! % ,, ,, + * * * *
2, 3 )+

% ( ( ( ( !( !, - ( ( !( (
77

1 ! * ' 0 1 ' * 3 0 ' 3

& " &
Tpts. B $
% ( ( ( ( !(( !
' ,, --
77

! * ' 0 1 * 3 0 ( ' 3
2, 3 ( ( (
& " & !
!, - !( !(
( ( ( ( !( , (- , (- !( , (-
"$ 0 1 1 1 1
77

1 * ' '
& " 4
Tbns. ( ( ( ( !(( !, - ,, (( -- !( ,, (( -- !( ,, (( -- !(
( (
"$ 0 1 ' ,- (
77

2, 3 * ' 1 1 1
& " 4
"$ + / / / /
77

Bomb. , (- ( ' ,- , (- ( , (- ( , (- (
! !
" 5 ! ! !
"$
77

Tb. (! - / '
) (! ( ( , (! ( ( ( ,- ( ( ,- (! ( , - (! ( , -
! ! ! !
" 5! ! ! !
" !( !( ( (! - /
77

Cb. $ ) (! ( ( , ( ' ,- !( ( , - !( !( , - !( !( , -
! ! ! 5 !
"
"$
77

Tmp. * * ' ,- * * *
!
&

' ( ( (
77 Bells

!$ ( ( + * * * *
3

Tecs.
(xilo / bells) &
( - ( ( - ( !( ( - ( ( - ( ( - ( !( !, -
77
Perc. 1
# (- ( ' * * *
Break

pt. sus., pand.

2
cx., bmb. "
!
pt. choque
' . Virada . . . . . . . . . . . .
Break conduo (ride)

. . (. . . . (. . .
77

Perc. 3 # ( 3 ( ( (
( ( ( , ( ( ( (- ( ' ,- ( ( ,- ( ( ,- ( ( ,-
bat.
1
& 5
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Srie Msica Brasileira para Banda Novo Tempo 14
Novo Tempo PARTITURA 6.0.qxd 5/7/08 5:06 AM Page 15

15 !* , (
* 2 * !* * * * ! 87
* *) +
83

Pic. !$ ' ' ' .

&
!* , !
* * !* * * * ! * 2 * !* * * * ! 2 ** ,, (
(
a2
* *) + * *) +
83

Fls. 1, 2 !$ ' . .
& &
* * ! !
. * 2 * ** ** ** ** % **
!
2 ** ,, (
83

!$ ' ' ' *) (

Obs. 1, 2 *) +
( &
"$ ( %( %(
83

Fgts. 1, 2 ' ' ' ( (

&
!* , !* , (
%% * * !* * * ! + * % * !* * * * !
+
83

Cl. E $ ! ' . * * *) . * *)
(req.) &
!* , !* , * % * !* * * * !
% *) * * !* * * * !
* *) * *) % !* , %(
+ +
83

1 ! . . +

Cls. B $ !* , * * !* * !
% * , * * ! !* , !
. * * ** ** ** ** ** . * % * * * ** ** % ** % ** ,, ((
! * , *)
83

2, 3 ! ** )) + ** )) + *) +

%
83

!
Cl. Bx. *! * , ) *! * , ) *! * , ) ( (
! ! *! !* , ) ! &
!* , % !* ,
% * , (( ,( %, 2 (( ((
83

Sxa. 1, 2 E $ ! % *) + % ** )) *
+
,
& 1 &
% ! % !*
. *+ , ( ( , , (
83

! - %, *)
Sxt. B $ +
& 1 &
% ! !*
. *+ , ( ( ( %*) , %(
83

Sx.bar. E $ ! % - +
& 1 &

87
( ,
83

1 ! ' %, 2( ( '
1
Tpas. F 83

2, 3 ! ' (( (( (, %, % (( '
1
!* * % * * !* !
%
. * * * . *3 % * *5 !
*! % * * *
83

1 ! / - / / . - / / -
Tpts. B $ & & &
% ! *5 !
. *3 % * *! % * * *
83

/ . - / / . %* * - / / -
a2
2, 3 ! * * !* * * *
& & ! &
( ! *5 !
%* * % *! * * *
"$
83

1 ' ' ' / - . +

&
Tbns. (( a 2 %* *! *5 !* * % * !*
"
83

2, 3 $ ' ' ' / - . +

&
!* , ( ( ( %*) !* ,
" $ *) %(
83

Bomb. + +
& 1 &
"$
83

Tb.
*! * , ) * * * *
*! * , ) *! * , ) ! *! * , ) * * * *
! ! ! &pizz
"$ !* !* , ) * * * *
83

Cb. *! * , ) *! * , ) *! * , ) * * * *
! ! ! 4
"$
83

Tmp. ' ' ' ' ' '

! 3
* ,
83

!$ ' ' ' . * 2* * * * * '

Bells
Tecs.
!* *) *! ,
(xilo / bells) &
83
Perc. 1
pt. sus., pand. # ' ' ' ' ' '
cx., bmb.

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0) 0 0 0) 0 0 0 00 0) 0
*)
83
Perc. 3 # * * * * * * *
bat. * * ,) * * ,) * * ,) * * ,) * * * * * * * *

FUNARTE Ministrio da Cultura

15 Srie Msica Brasileira para Banda Novo Tempo
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! &*
( ( ( , 16
& ( % ( !( , & !(
)(
89
( (
Pic. !$ ' '

(( % ( !(( ( !( , && ** !(
) && % (
,, && ) (( ( ( , )( (
(
89

Fls. 1, 2 !$ ' '

& %( (( !(( ,, && ( !( ,, && **

' ) (( ( ( ( )(
89

Obs. 1, 2 ! $ )& '% ( ( (

!
!+ !+
" $ %& (* %( , )& (* )( ,, ,,
89

Fgts. 1, 2 , , ,

! &*
89
%% & ( % ( !( , & ( ( ( , !(
%( (
Cl. E $ ! ' ' (
(req.)
! ! %&*
89
% %& ( ( %( , )& ( ( ( , !(
1 ! ' ' %( ( (
Cls. B $
% && ( !( ,, && ( !( ,, && **
' % ( % % (( ( ' (( ( (
89

! % (( ( (
! ( ( % ((
2, 3

%
89

Cl. Bx. ! , , ,
, ,
! !(
% %& (* ) !(( ,, & (* (( ,, %&* ( (( (
89

Sxa. 1, 2 E $ ! % & (*
-
& (*
-
&* ( ((

% & (* % !( , & (* ) !( , ,
89

Sxt. B $ ! - -

% %& (* % !( , )& (* ) !( , ,
89

Sx.bar. E $ ! % - -

89

1 ! . . . . .
Tpas. F 89

2, 3 ! . . . . .

!( ( * !(
% (*
!( &
% (! (2
!
(! % ( ( ( (* + (! (2 (! ( ( !( (* &
89

1 ! - - ( -
"
Tpts. B $ !( & !( !( ( * !( !
% % (! (2 (* + (2 (! ( ( ( (* !
(* (! % ( ( % (( &&
89

! - - (
2, 3 -
"
(* (! (2
!( (* !( ( * (! (2 !
(! ( ( ( (* !(
"$
89
% !( & % (! ( ( -
(
- -
&
1
-
!( (* !( (2 ! (* "
Tbns. (* % !( & (! (2 % (! ( (
!( ( * ( (! ( ( ( ) !(( &&
" - -
89

2, 3 $ - -
"
" $ %& (* % !( , )& (* ) !( , +
89

Bomb. - - (* ( &
!
"
"$
89

Tb. ( ( ( ( ( ( ( ( +
( ( ( ( ( ( ( ( (* ( &
" !
"
89
( ( ( ( ( ( ( ( +
Cb. $ ( ( ( ( ( ( ( ( (* ( &
!

"$
89

Tmp. . . . . .

( !( ,
' ( % ( (( , ' (
89

Tecs. !$ / , / ( , .
0 !
(xilo / bells)
89
0
Perc. 1
pt. sus., pand. # . . . . .
cx., bmb.

1 1 1 1 1* 1 1 1* 1 1 1 1 1 1 11 1* 1 1 1 11 1 1 1 1 1 1 1 1
(* (* (* (* (* (* (*
89
Perc. 3 # ( ( (
bat. ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (

FUNARTE Ministrio da Cultura

Srie Msica Brasileira para Banda Novo Tempo 16
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17 *
94 * / * *
* + ,
Pic. !$ ) - 2 2 2 -
(
!* !* !/ !/ ** ** // **
!* **
* + ,
!$ - 2 , -
a2

Fls. 1, 2 )
3 (
. !* !* !/ !/
* * / ** ** // **
Obs. 1, 2 ! $ $ ** + , - 2 , * * / - **
!* !* 3! !*
(
!/ * !/ * !/ * !/ !*
"$ , / * * / * * / * * / * , /4 0
Fgts. 1, 2
( /4 0
!
!
!* !* !/ !/ * * / * *
% !*
Cl. E $ ! % )* + , - 2 , -
(req.)
3 (
% !* !* !* !/ !/ * * /
! 0 0 , - * *
1
3 (
Cls. B $
% ** !** !// // * * /
! , ** - * * * *
2, 3 1 00 00
! ! ! / * *
3 (
%
! , ,
/ * * / * * / * * / * / 0
!4
Cl. Bx.
! ! ! ! ! ! ! !
( !
!* !* !* !* !/ !/ ** ** // ** **
% 0 ! !* !*
! % 0
a2
, * -
Sxa. 1, 2 E $
3 (
% !* !* !/ !/ * * / *
Sxt. B $ ! 10 0 , * - *
! (
3
%
Sx.bar. E $ ! % , / * * / * * / * * / * , /4 0
! ! ! ! ! ! ! ! !
!
94
!* !* !/ !/
1 ! 2 , * 0 2 2
!
Tpas. F 3 !* !/
!* !/ 0
! 2 , * 2 2
a2
2, 3
!
3
% !* !* !* 0! 0
1 ! 2 2 2 ,
Tpts. B $ 3
% !* !/ !* !* !* 0! 0
2 , ,
a2
2, 3 ! * * /
! ! ! 3
!* !/ 3
!* !* !/ !/ !* * !/ !* !/ 4 0
"$ , , ,
1
3 !* !/ ( !
Tbns. !* !* !/ !/ !* ** !/ !* !/ 4 00
"$ ,
a2
, / * / * , /4
2, 3
3 ( !
"$ , / * * / * * / * * / * , /4 0
Bomb.
! ! ! ! ! ! ! ! !
( !
"$ , ,
Tb.
/ * * / * * / * * / * /4 0
(! ! ! ! ! ! ! !
!
!
"$ ,
arco
/ * * / * * / * * / * , /4 0
Cb.
! ! ! ! ! ! ! ! !!
(
&'''''''''''''''''''''''''''''''''''
"$ , / * * / * * / * * / * , /4 0
Tmp.
! ! ! ! ! ! ! ! !
( !
* / * * / *
!$ 2 2 , * / - *
Bells
Tecs. * / /
(xilo / bells) 3 3
Perc. 1
# , /4 0 0 0 , 2
Caixa
pt. sus., pand.
5 5 5 5 /4
cx., bmb. 6 (!
!
pt. choque
! ! ! ! ! ! ! !
7 7 7 7 7 7 7 7 7 7 7 , 7
Perc. 3 # 7 / * * / * * / * * / * / 44 2
bat. * / * * / * * / * * / * , /4

FUNARTE Ministrio da Cultura

17 Srie Msica Brasileira para Banda Novo Tempo
Novo Tempo PARTITURA 6.0.qxd 5/7/08 5:06 AM Page 18

- - %- )! - 18
100
) ) - - - - - 2
Pic. !$ * 3 . *
( !
- - %-- )) --
)) )) -- -- -- -- -- - -
2
100

Fls. 1, 2 !$ * 3 . *
(
!
- - %-- )) --
-- -- -- -- -- - -
100

Obs. 1, 2 ! $ )) )
) * 2 3 . *
(
"$ * !+ !+ )! )! -
+
100

+ + ) 3 . *
Fgts. 1, 2 + ) -
! ! ( 2
( !
- - - - ) -
%% ) ) - - - - 2
100

Cl. E $ ! * 3 . *
(req.)
(
- - - )! -
% - - - - -
! ) ) 2
100

1 * 3 . *
(
Cls. B $ )! -
% - - % --
-- -- -- -- -- - - ) -
100

2, 3 ! )) )) * 2 3 . *
(
%
100

! * 4 3 . *
Cl. Bx.
+ + )
!+ ! ! !
!
)! -
( (!
% +, !- - - - )) --
- - - - -
!+
100

! % +,
a2
- - * 2 3 . *
Sxa. 1, 2 E $ !
( (
% * ! !+ - - - - )! -
100

Sxt. B $ ! + + * - - - - 2 3 . *
! (
(
%
100

Sx.bar. E $ ! % * + + ) 4 3 . *
!+ ! !
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FUNARTE Ministrio da Cultura

Srie Msica Brasileira para Banda Novo Tempo 18
 EDIES
FUNARTE FUNARTE
S EDITIONS PARTITURAS
MUSIC
OFDE SCORESPARA
FOR BANDS
ANDAS

1995
Golden Repertoire of Francisco Manuel da Silva/Joaquim Osrio Duque Estrada
Brazilian Bands Hino Nacional do Brasil
Antnio do Esprito Santo
Avante Camaradas / Dobrado 220 2008
Golden Repertoire of
Gilberto Gagliardi Brazilian Bands
Cidade de Diadema (dobrado) Anacleto de Medeiros
Jubileu (dobrado)
Joaquim Naegele
Mo de Luva (dobrado) Francisco Braga
Baro do Rio Branco (dobrado)
Silvestre Pereira de Oliveira
Amor de um Pai (dobrado) Joaquim Naegele
Professor Celso Woltzenlogel (dobrado)
Antnio Pedro Dantas (Tonheca Dantas)
A Desfolhar Saudades (valsa) Joaquim Naegele
Estrela de Friburgo (polka for solo trumpet and band)
2000
Golden Repertoire of Joaquim Naegele
Brazilian Bands Ouro Negro (dobrado)
Antonio do Esprito Santo
Avante Camaradas Anacleto de Medeiros
Dobrado 220 (dobrado) * reissue Os Bomios (Brazilian tango)

Ceciliano de Carvalho Jos Genuno da Rocha

Dever do Mestre (dobrado) Testa de Ao (frevo)

Gilberto Gagliardi Pedro Salgado

Cidade de Diadema (dobrado) * reissue Dois Coraes (dobrado)

Joo Firmino de Moura Hymns of Brazil

Saudades de onde Nasci (valsa) D. Pedro I/ Evaristo da Veiga
Hino da Independncia
Joo Trajano da Silva
Janaina (ciranda) Leopoldo Miguez / Medeiros e Albuquerque
Hino da Proclamao da Repblica
Joaquim Naegele
Mo de Luva (dobrado) * reissue Brazilian Music for Bands
Edu Lobo/Capinam
Jos Aniceto de Almeida Ponteio (baio; arrangement by Hudson Nogueira)
Ceclia Cavalcanti (valsa)
Guinga / Aldir Blanc
Jos Barbosa de Brito Baio de Lacan (choro; arrangement by Hudson Nogueira)
Bento Barbosa de Brito (dobrado)
Hermeto Paschoal
Levino Ferreira da Silva Beb (baio; arrangement by Hudson Nogueira)
Lgrimas de Folio (frevo)
Noel Rosa
Luiz Fernando da Costa Palpite Infeliz (samba; arrangement by: Hudson Nogueira)
Archanjo Soares do Nascimento (dobrado)
Hudson Nogueira
Manoel Ferreira Lima Quatro Danas Brasileiras (samba, maxixe, marcha-rancho, choro)
Diana no Frevo (frevo)
Ivan Lins / Vitor Martins
Manoel Rodrigues da Silva Novo Tempo (arrangement by Hudson Nogueira)
Dengoso (choro)
Carlos Alberto Braga (Braguinha) / Alberto Ribeiro
Severino Ramos Copacabana (samba; arrangement by Jos Carlos Ligiro)
Tubas de Papelo (dobrado)
Jos Ursicino da Silva (Mestre Duda)
Silvestre Pereira de Oliveira Sute Nordestina (baio, serenata, maracatu, frevo)
Amor de um Pai (dobrado) * reissue
Jos Ursicino da Silva (Mestre Duda)
2004 e 2008 Sute Pernambucana de Bolso (caboclinhos, serenata, cco, frevo)
Hymns of Brazil
Francisco Braga/Olavo Bilac Nelson Cavaquinho/Guilherme de Brito
Hino Bandeira Nacional Folhas secas (samba; arrangement by Hudson Nogueira)
Patrocnio Realizao