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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
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
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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
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&
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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
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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
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&
16
�œ�œ �œ �œ �œ j�œ �œ
....
�œb �œb �œ .�œ �œ �œ �œ �œ �œn �œb �œexpressif
�œ �œ#
....
�œ J�œ �œb �œ J�œ �œ&
....�œ�œ�œ�œbb ....�œ�œ�œ�œn##�Œ J�œ �‰
�œn
&
&
19 j�œ#�œ#au loin
j�œ j�œ �œ�Œ . .�œn
b *sans pédale
touché baissée sans faire résonner
�Œ . .�œb�œ�œ �œ �œ �œ J�œ �œ
....
j�œ.�œ �œ �œ j�œ �œ
�Œ ..�œ
....
&
&
22 �œ �œ �œ �œ �œ
�œb �œ �œ �œ
�œ
toujours toutes les cordes
très allant, gracieux et souple
j�œ j�œ �œ
.�œ
�œ �œ �œ �œ �œ �œ
�œb �œ �œ �œ
.�œb �œ �œ j�œ �œ
�œ �œ .�œ
�œ �œ �œ �œ �œ �œ �œ
�œb �œ �œ �œ
�œ �œ �œ �œ
J�œbcaressant
�œ?
&
?
25
�œ j�œ �œ �œ �œ
.�œ J�œb �œ�œ �œ �œ .�œ
.�œ �œ �œ �œ�Œ .J�œ �œ
.�œ �œ�œ#�œ j�œ �œ �œ �œ.�œ J�œ �œ
&
?
28
..�œ�œ �œ�œ�œ#�œ �œ �œ .�œ.�œ J�œ �œ
...�œ�œ�œ ....�œ�œ�œ�œbb�œ j�œ �œb �œ �œ J�œ �œ.�œ �Œ .
�œ�œ�œ�œ �œ �œ �œ �œ �œ?
.�œ j�œéloignant
�œ
4
AP �• 400
Cinq petites mélodies
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?
31
.�œ �œ �œ �œb �œ �œ .�œ
.�œ j�œ �œ
�œ �œ �œ .�œ
.�œ j�œ �œ
�Œ . .�œ�œ �œb �œ �œ J�œ .�œ
.�œ �œ �œb �œb j�œ �œ
?
?
34 .�œ ..�œ�œrit.
�œ J�œ .�œ
.�œ j�œ �œ
..�œ�œ ...�œ�œ�œb�œ J�œ .�œ
.�œ j�œ �œ
U
U
6"
6"attendez
&
j�œ�œplus chaleureux
�œ �œ j�œ �œ�Œ . ....�œ�œ�œ�œ#
....�œ�œ�œ�œ toujours toutes les cordes
....�œ�œ�œ�œ
&
37 �Œ . ...�œ�œ�œb�œb�œb .�œb �œ �œ J�œ �œ
....�œ�œ�œ�œ �œ�œ�œ�œ
j�œ�œ j�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##
....�œ�œ�œ�œ## �œ�œ�œ�œ�‰ .
�œ# �œ�‰
�œ#
&
40
�œ �œ# �œ �œbtrès calme et doucement expressif
�œ �œ j�œ �œ�Œ . ...�œ�œ�œ# &
....�œ�œ�œ�œ##n ...�œ�œ�œ##�Œ . .�œ
....�œ�œ�œ�œ## ....�œ�œ�œ�œ
�œ#
�œ#
�Œ J�œ## J�œ �œ
.�œ# ...�œ�œ�œ##�Œ . .�œ
�œb �œ �œ# �œ �œ �œ j�œ �œ�Œ .
...�œ�œ�œb#
....�œ�œ�œ�œ##n ...�œ�œ�œ#�Œ . .�œ#
&
&
43 .�œ ...�œ�œ�œ#
�œ �œ �œb �œ
�œ# �œ �œ# �œ �œ
�œb en blousant
J�œ
J�œ �œ
�œ# �œ .�œ# ...�œ�œ�œb
�œ �œ �œb �œ
�œ �œ# �œ �œ# �œ �œ
�œ �œ �œJ�œ �œ
�Œj�œb .�œ ....�œ�œ�œ�œ#
�œ �œ �œb �œ
�œ �œ �œ# �œ �œ# �œ �œ
.�œb j�œncaressant
�œ
5
AP �• 400
Cinq petites mélodies
FOR REFERENCE ONLY
NOT FOR PUBLIC
PERFORMANCE USE
DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
&
&
46�œb �œ �œ �œ �œ �œ
.�œ j�œ �œ
.�œb �œ �œ .�œ�Œ .
.�œ
.�œ .�œ�Œ . J�œb �œ
�œ �œ �œ .�œ.�œ ..�œ�œ
.�œ ..�œ�œ.�œ J�œb �œ
.�œ �œ �œ .�œ
attendez
..�œ�œ ...�œ�œ�œu
..�œ�œ ...�œ�œ�œ.�œ J�œb �œU
&
&
50 �œ �œ �œb �œau loin
j�œ j�œ �œ�Œ .
....�œ�œ�œ�œ#
bsans pédale*touché baissée sans faire résonner
�Œ . ....�œ�œ�œ�œbb�œb�œb �œb J�œ J�œb �œ
....
�œ �œ �œb �œ �œ �œ �œ �œ �œ �œb �œtrès expressif
�œ �œb �œ �œ �œ#�Œ .....�œ�œ�œ�œ#
....
&
&
53 .�œ �œ �œ �œb �œ j�œ �œ�Œ . ..�œ�œ
....�œ�œ�œ�œ# ....�œ�œ�œ�œbb�‰ . �œn �œ �‰ �œ
j�œ�œau loin
j�œ j�œ �œ�Œ .
....�œ�œ�œ�œ###
....#sans pédale*touché baissée sans faire résonner
�Œ . ...�œ�œ�œ#�œ�œ .�œ �œ �œ J�œ �œ
....
&
&
56
j�œ�œ �œ �œ j�œ �œ�Œ . ....�œ�œ�œ�œbbb
...�‰ .
�œb �œb �œb �œ �œ
�œb �œb �œ �œ
�œ
toujours toutes les cordes
très allant, gracieux et souple
j�œ j�œ �œ
.�œ
�œ �œb �œb �œb �œ �œ
�œb �œb �œ �œ
�œb �œ �œ j�œ �œ
�œ �œ .�œ
&
&
59
�œ �œ �œb �œb �œb �œ �œ
�œb �œb �œ �œ
�œcaressant
j�œ �œ �œ �œ
J�œb �œ?
�œ �œ �œ j�œ �œ.�œ J�œb �œ
�œ j�œ .�œ.�œ �œ �œ �œ
�Œ . J�œ�œ# �œ�œ
6
AP �• 400
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FOR REFERENCE ONLY
NOT FOR PUBLIC
PERFORMANCE USE
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OR REPRODUCE
WITHOUT PERMISSION
&
?
62
.�œ ..�œ�œb�œ �œ �œ �œ �œ �œ..�œ�œ J�œ�œ�œ# �œ�œ�œ
..�œ�œ ...�œ�œ�œb
.�œ �œ �œ .�œ...�œ�œ�œ J�œ�œ�œ�œ#b �œ�œ�œ�œ
...�œ�œ�œ ....�œ�œ�œ�œb�œ �œ �œ �œ# �œ �œ j�œ �œ....�œ�œ�œ�œ �Œ .
&
?
65
....�œ�œ�œ�œ �œ �œ .�œéloignant
?
.�œ j�œ �œ
�œ j�œ �œ# �œ �œ .�œ
.�œ j�œ �œ
�œ j�œ �œ �œ �œ
.�œ j�œ �œ?
?
68 �Œ . .�œ�œ �œ �œ �œb �œ �œsans dureté, très lié
.�œ
.�œ .�œ�Œ . �œ �œ �œb J�œ �œ
.�œ ..�œ�œb rit.
.�œ �œ �œ .�œ
.�œ . .�œ�œ.�œ J�œ �œ
..�œ�œ ...�œ�œ�œb�œ J�œ .�œ &
. .�œ�œ ...�œ�œ�œ#.�œ J�œ# �œ
U
U
6"
6"attendez
&
?
Chacarera 71 �Œ .p en badinant (bien articulé)
au mouvement (très mesure)�œ�œ�œbb�œ�œ�œ
�œ�œ�œbb�œ�œ�œ#
�œb �œb �œ .#
�Œ*le moins possible le pédale
J�œ�œ�œ#�œ�œ�œb �‰ �œ�œ�œb
�œ�œ�œ
�‰
�Œ j�œ�œ�œ#
�Œ . �œ�œ�œbb�œ�œ�œ
�œ�œ�œbb�œb �œb �œ .#
�Œ J�œ�œ�œ#
&
?
74
�œ�œ�œbb �œ�œ�œb�œ�œ�œ�œbb
�œ�œ�œ�œb�œ�œ�œ�œbbb
�‰ �Œ . �œ�œ�œb�œ�œ�œ##
�œ�œ�œb�œ�œ�œ#�‹
�œ �œ �œb .b
�Œ J�œ�œ�œ#�‹
�œ�œ�œ## �‰ �œ�œ�œ#�‹�œ�œ�œnb
�‰
�Œ J�œ�œ�œb#
7
AP �• 400
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FOR REFERENCE ONLY
NOT FOR PUBLIC
PERFORMANCE USE
DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
&
?
77
�‰ J�œ�œ�œb �‰ �œ�œ�œb �œ�œ�œ�œ�œ�œ##
�œ�œ�œb�œ�œ�œ#�‹
�œ �œ �œb .b
�Œ J�œ�œ�œ#�‹�œ
coulant
�œ#�œ
�œ�œ
�œ
�œ
�œ#
�œ�œ�œ�œ
�œ�œ#
�œ�œ
�œ�œ
�œ
�œ#
�œ�œ�œbb �œ�œ
&
?
80
�œ�œ#
�œ�œ
�œ�œ
�œ
�œ#
�œ�œ�œ�œ�œ�œ#
�œ j�œ �œ �œ �œ
�Œ J�œ�œ�œ �‰ J�œ�œ�œ# �‰
�œ �œ �œ �œb �œ �œ
�Œ J�œ�œ�œ# �‰ J�œ�œ�œ## �‰
&
?
83
�œb j�œ �œ �œ �œ
�Œ J�œ�œ�œbb �‰ J�œ�œ�œbb �‰
�‰ �œb �œ �œ �œ �‰
�Œ J�œ�œ�œbb �‰ J�œ�œ�œbb �‰
�‰ j�œ�œ�œbencore plus animé
�‰ �œ�œ�œb �œ�œ�œ�œ�œ�œ
�œ�œ�œb�œ�œ�œ
�œn �œb �œ �œb �œ .
�Œ J�œ�œ�œ
&
?
86
�œ�œ�œ## �œ�œ�œ##�œ�œ�œ
�œ�œ�œ##�œ�œ�œ
�‰ �Œ . �œ�œ�œb�œ�œ�œ
�œ�œ�œb�œ�œ�œ
�œ �œb �œ �œb �œ .
�Œ J�œ�œ�œ�œ�œ�œ�œbb �‰ �œ�œ�œ�œbbb
�œ�œ�œ�œ##
�‰
�Œ J�œ�œ�œ�œ###
&
?
89
�Œ . �œ�œ�œ�œ�œ�œbbb
�œ�œ�œb�œ �œ �œ �œ �œ .
�Œ J�œ�œ�œbb
�œ�œ�œbbb �œ�œ�œbb�œ�œ�œ##
�œ�œ�œbbb�œ�œ�œ##
�‰�Œ . �œ�œ�œ
�œ�œ�œbbb�œ�œ�œn
�œ�œ�œbb�œ �œ �œ �œ �œ .
�Œ J�œ�œ�œbb
8
AP �• 400
Cinq petites mélodies
FOR REFERENCE ONLY
NOT FOR PUBLIC
PERFORMANCE USE
DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
&
22
22Pianoforte
Plena �œ#
�ƒ toujours toutes les cordes (très enveloppé de pédales)
�œ
�œ#
�œ�œ�œ�œ�œb##
(sub)percuté
bien rhythmé
�œ�‹ �œ�œ�œ�œb## �œ�œ�œ�œ �œ�‹ �œ�œ�œ�œb##
p en dehors (faire ressortir le chant)
�œ�‹ �œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb##
b
&
3
�œ�‹ �œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb##
�œ �œ#�œ�‹ �œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb#b �œn �œ�œ�œ�œb#b �œ
b
�œ�œ�œ�œb#b �œ �œ�œ�œ�œb#b �œ �œ�œ�œ�œb#b �œ
b
&
6 �œ�œ�œ�œb#b �œ �œ�œ�œ�œb#b �œ �œ�œ�œ�œb#b �œ
#
�œ�œ�œ�œb#b �œ �œ�œ�œ�œb#b �œ �œ�œ�œ�œb#b �œ �œ�œ�œ�œb#b
�œb �œ
�œ# �œ�œ�œ�œb# �œ# �œ�œ�œ�œb# �œ# �œ�œ�œ�œb# �œ#
&
9 �œ�œ�œ�œb# �œ# �œ�œ�œ�œb# �œ# �œ�œ�œ�œb# �œ#
�œ�œ�œ�œb# �œ# �œ�œ�œ�œb# �œ# �œ�œ�œ�œb# �œ# �œ�œ�œ�œb# �œ#
b
�œ�œ�œ�œb# �œ# �œ�œ�œ�œb# �œ# �œ�œ�œ�œb �œ#
�œ# �œ
&
12 �œ�œ�œ�œb �œ# �œ�œ�œ�œb �œ# �œ�œ�œ�œb �œ# �œ�œ�œ�œb
#
�œ# �œ�œ�œ�œb �œ# �œ�œ�œ�œb �œ# �œ�œ�œ�œb
�œ# �œ�œ�œ�œb �œ# �œ�œ�œ�œb �œ# �œ�œ�œ�œb �œ# �œ�œ�œ�œb
b
10
AP �• 400
Cinq petites mélodiesNo. 3 Aqua du centre
FOR REFERENCE ONLY
NOT FOR PUBLIC
PERFORMANCE USE
DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
&
15
�œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ
�œb �œ
�œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb
�œ �œ# #
�œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb
b
&
18
�œ �œ�œ�œ�œb �œ �œ�œ�œ�œn �œb �œ�œ�œ�œ
�œ# �œ#
�œb �œ�œ�œ�œ �œb �œ�œ�œ�œ �œb �œ�œ�œ�œ
�œb �œ#
�œb �œ�œ�œ�œ �œb �œ�œ�œ�œ �œb �œ�œ�œ�œ �œb
�œb �œ
�œ�œ�œ�œ �œb �œ�œ�œ�œ �œb �œ
Fpercuté �œ
�œ
�œ �œ#&
&
22 �œ�œ�œ�œ (sub) bien rhythmé
�œ �œ�œ�œ�œ �œ�œ�œ�œ �œ �œ�œ�œ�œ
�Œ �œp en dehorsbJ�œ
�œ�œ�œ�œ J�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
&
25 �œ�œ�œ�œ �œ �œ�œ�œ�œ �œ# �œ�œ�œ�œ# �œ#
b
�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#
�œb�œ �œ
�œ#
&
28 �œ�œ�œ�œ# �œ# �œ�œ�œ�œ# �œ# �œ�œ�œ�œ# �œ# �œ�œ�œ�œ#&
�œ �œ b
�œb �œ�œ�œ�œ �œb �œ�œ�œ�œ �œb �œ�œ�œ�œ
�œ# �œ
�œb �œ�œ�œ�œ �œb �œ�œ�œ�œ �œb �œ�œ�œ�œ �œb �œ�œ�œ�œ
�œ �œb
11
AP �• 400
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NOT FOR PUBLIC
PERFORMANCE USE
DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
&
&
31 �œb �œ�œ�œ�œ �œb �œ�œ�œ�œ �œb �œ�œ�œ�œ �œb
�œb�œ �œ
�œ#
�œ�œ�œ�œ �œb �œ�œ�œ�œ �œn �œ�œ�œ�œb �œ �œ�œ�œ�œb
�œ �œ �œb �œ
�œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb
�œ �œ
&
&
34 �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �œ �œ�œ�œ�œb
�œb �œb �œ �œ
�œ �œ�œ�œ�œb �œ �œ�œ�œ�œb �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 �œb �œ
&
&
37 �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 �œb �œb ?
�œ�œ�œ�œ## �œ�‹ �œ�œ�œ�œ## �œ�‹ �œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb##
�œb �œ �œ�œ#&
&
&
40 �œ�‹ �œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb## �œ�‹
�œb �œ �œ �œ
�œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb# �œ�‹
�œb �œb�œ �œ
�œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb## �œ�‹ �œ�œ�œ�œb## �œ�‹ �œ#
Fpercuté �œn
�œ
�œ�œ# �œ �œ ?
&
?
43 �œ�œ�œ�œ## (sub) bien rhythmé
�œ�‹ �œ�œ�œ�œ## �œ�œ�œ�œ �œ�‹ �œ�œ�œ�œ##s'agrandissant
�Œ �œb p en dehors
�œb �œ&
J�œ�‹ �œ�œ�œ�œ## J�œ�œ�œ�œ �œ�œ�œ�œ �œ�‹ �œ�œ�œ�œ##
j�œ �œb j�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#
12
AP �• 400
Cinq petites mélodies
FOR REFERENCE ONLY
NOT FOR PUBLIC
PERFORMANCE USE
DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
&
&
46 �œ�‹ �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 ?
�œ�‹ �œ�œ�œ�œ### �œ�‹ �œ�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###
j�œ �œ j�œ# �œ �œ# ?
&
?
49 �œ�‹ �œ�œ�œ�œ### �œ�‹ �œ�œ�œ�œ### �œ�‹ �œ�œ�œ�œ###
�œ �œ# �œ�œ# �œ
�œn �œ�œ�œ�œbbb �œ �œ�œ�œ�œbbb �œ �œ�œ�œ�œbbb
J�œ �œ J�œ �œ �œ�œ �œ�œ�œ�œbbb �œ �œ�œ�œ�œbbb �œ �œ�œ�œ�œbbb
�œ�œ �œ
�œ#
&
?
52 �œ �œ�œ�œ�œbbb �œ �œ�œ�œ�œbbb �œ �œ�œ�œ�œbbb �œ
J�œ �œ J�œb �œ �œb
�œ�œ�œ�œbbb �œ �œ�œ�œ�œbbb �œ �œ�œ�œ�œnbb �œ
�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
J�œ �œJ�œ# �œ �œb
�œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ
�œ �œ �œb�œ �œ
&
?
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
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NOT FOR PUBLIC
PERFORMANCE USE
DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
&
?
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
�œn
�œb
�œb�œ �œ#
�œ �œ & ?
&
?
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
�œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ�œ�œ�œ �œ �œ�œ�œ�œbb
J�œ �œ# J�œb �œb �œb
&
?
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
J�œb �œ J�œ �œ �œ
�œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb
�œ# �œ�œ �œ �œ#
�œ#�œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ
J�œ �œJ�œ �œb �œ
&
?
73 �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ
�œ �œb �œ�œb �œ �œb
�œ�œ�œ�œbb �œ �œ�œ�œ�œbb �œ �œ�œ�œ�œ �œ �œ�œ�œ�œ �œ
J�œ �œ# J�œb �œb �œ �œ#�œ�œ�œ�œ �œ �œ�œ�œ�œ �œ �œ�œ�œ�œ �œ
�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
&
?
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
�œ �œ�œ�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�œ�œ
j�œ �œ j�œ �œ �œ# �œ
&
?
79
�œ �œ�œ�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�œ�œ
J�œ �œb j�œ �œ# �œ �œ�œ �œ�œ�œ�œ �œ �œ�œ�œ�œ# �œ �œ�œ�œ�œ#
�œ �œ# �œ�œb �œ �œ#
&
?
82
�œ �œ�œ�œ�œ# �œ �œ�œ�œ�œ# �œ �œ�œ�œ�œ#
j�œ �œb J�œb �œb �œ �œ�œ �œ�œ�œ�œ# �œ �œ�œ�œ�œ#
�œ�ƒpercuté
�œ#
�œ
�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)
�œ# �œ �œ �œ#
j�œ# (sub) bien rhythmé�œ�œ�œ�œ## j�œ# ....�œ�œ�œ�œ## j�œ�œ�œ�œ
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#
�œ# �œ�œ�œ�œ## �œ# j�œ�œ�œ�œn## �œj�œ�œ�œ�œ##
�œ�œ �œ# �œ �œ �œ#
�œ �œ�œ�œ�œ## �œ ....�œ�œ�œ�œ## j�œ
J�œ�œ
J�œ# �œ �œ# �œ
�œ�œ�œ�œ## �œ �œ�œ�œ�œ## �œj�œ�œ�œ�œ## �œ
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
&
91
.�œ J�œ �œ �œ�œ
�œ �œ�œ�œ�œ## �œ ....�œ�œ�œ�œ## j�œ
j�œ �œbrythmique
J�œ# .�œ j�œ
�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
�œ�œ�œ�œb �œ �œ�œ�œ�œb .�œ j�œ�œ�œ�œb
J�œ �œ# J�œ �œ �œ �œ#
�œ �œ�œ�œ�œb �œ ....�œ�œ�œ�œb j�œ
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
�œ �œ�œ�œ�œ#b �œ �œ�œ�œ�œ#b .�œ j�œ�œ�œ�œ#b
.�œ J�œ �œ �œ �œ
�œ �œ�œ�œ�œ#b �œ j�œ�œ�œ�œ#b �œ j�œ�œ�œ�œ#b
.�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
&
106 .�œ J�œ �œ �œb �œ
�œ�œ�œ�œ#bien rhythmé
�œ �œ�œ�œ�œ# �œ�œ�œ�œ �œ�œ�œ�œ
.�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#
�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�œ# j�œ �œ�œ�œ�œ# j�œ
.�œ j�œ# �œ �œ
�œ�œ�œ�œ# �œ �œ�œ�œ�œ# �œ ....�œ�œ�œ�œ# j�œ
&
112
.�œ J�œ# �œ �œ# �œ#
�œ�œ�œ�œ# �œ �œ�œ�œ�œ# j�œ �œ�œ�œ�œ# j�œ
�œrythmique
�œb �œ �œ �œ
�œ�œ�œ�œ## �œ �œ�œ�œ�œ## .�œj�œ�œ�œ�œ##
J�œ# .�œ �œ# �œ �œ#
�œ �œ�œ�œ�œ## �œ ....�œ�œ�œ�œ## j�œ
&
115
�œ �œ �œ �œ# �œ
�œ�œ�œ�œ## �œ �œ�œ�œ�œ## .�œj�œ�œ�œ�œ##
.�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#
�œ �œ�œ�œ�œ �œ ....�œ�œ�œ�œ j�œ
&
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
�œ �œb �œ �œb
�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
?
t
42
42Pianoforte
Toque de São Bento Grande
.�œp
très léger et fondu par la pédale
tranquille et flottant
�œb
�œ
�œ�œ�œn
�œ
�œb
�œ
�œn �œ �œ �œ �œb
�œ �œ
�œ#
�œ
�œ�œ�œ�œn#
�œ#
?
t
4
�œ �œ
�œ#
�œ
�œ
.�œ
�œ#
�œ
�œ�œ�œ
�œ
�œ#
�œ
�œ �œ �œ �œ �œb
?
t
7
�œ �œ
�œb
�œ
�œ
�œ
�œ�œ�œ
�œ
nb
�œbsortant de la brume
�œb �œb
�œ
�œb
�œ�œb �œb
�œ
�œb
�œ�œ�œ
�œ
?
t
10
�œb �œb �œb �œb
�œ
�œb
�œ
�œ3
�œ# �œ#
�œ
�œ
�œ�œ�œ
�œ �œ# �œ# �œ
�œ
�œ#
�œ
?
t
13
�œ# �œ
�œ
�œ
�œ�œ�œ
�œ# �œ# �œ �œ# �œ
�œ
�œ
�œ
�œ#
3
�œ
sourdement
�œ
�œb
�œ
�œ
�œb
�œ�œ�œ
�œ
bb
�œb
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
?
t
16
�œ �œ
�œb
�œ�œb
�œbaccusé
�œb �œ �œ �œ �œb �œb
.�œ
�œb
�œ
�œ�œ�œb
�œ
�œ#
�œ
�œ
?
t
19
�œ �œ
�œ#
�œ
�œ�œ�œ
�œn
#
�œ# �œ �œ
�œb
�œ�œ
�œbaccusé
�œ �œ �œ �œ �œ �œb
.�œ
�œb
�œ
�œ�œ�œ
?
t
22
sortant de la brume
�œb
�œ#
�œ
�œ�œb �œ
�œ#
�œb
�œ#
�œ#
�œ�œ�œ
�œ#
#
�œ �œb �œ
�œ#
�œb
�œ
?
t
25
�œb �œ
�œ#
�œ
�œ�œ�œ#
�œb �œb �œ �œb �œ
�œ
�œ
�œ
�œb3
�œb �œ
�œ
�œ
�œ�œ�œ
�œ
#
�œb
?
t
28
�œb �œ
�œ
�œb
�œ
�œsourdement
�œ
�œ
�œb
�œ�œ�œb
�œ �œ �œ �œ �œ
�œ
�œb
�œb �œ
�œ
�œ �œb �œ3
20
AP �• 400
Cinq petites mélodies
FOR REFERENCE ONLY
NOT FOR PUBLIC
PERFORMANCE USE
DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
?
t
31
�œ �œ
�œ
�œ
�œ
�œb
�œ�œ�œ
�œ
b
�œ �œ �œ
�œ
�œ
�œb
.�œ
�œ
�œ
�œ�œ�œb
�œ
�œ
�œ
�œb �œfluide
�œ �œb �œ
?
?
?
35 �œaugmenter
�œ# �œ �œ �œ �œ �œ# �œ �œ �œ# �œ �œ# �œ �œ �œ# �œ �œn �œb �œb �œ
�œtrès enveloppé de pédales
�œ �œ# �œ �œ �œ �œ# �œ# �œ �œ# �œ �œ# �œ# �œ �œ# �œb �œ �œn �œb �œ
?
?
36 �œ#P
en se calmant
les basses légèrement expressive (très sostenu de pédale)
�œp
�œ(sub)
�œ
�œ
�œ
.�œ
�œ
�œ �œ
�œ�œ
�œ �œ �œ �œ �œ �œ
�œ
�œ
�œ
?
?
39 �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
?
?
42 �œ �œ �œ �œ �œ
�œ
�œ#
�œ#
�œ3
�œ
velouté
�œb
�œ
�œ �œ
�œ
�œ
�œbb
�œ& �œ �œb
�œ
�œ
�œb
21
AP �• 400
Cinq petites mélodies
FOR REFERENCE ONLY
NOT FOR PUBLIC
PERFORMANCE USE
DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
&
?
45
�œ �œb�œ
�œ
�œ
�œ
�œbb
�œ? & �œ �œb �œ �œb�œ
�œb�œ
�œ3
�œ �œ#�œ
�œ
�œ
�œ# �œ
�œ
�œ
�œ
�œ? &
&
?
48 �œ �œ#�œ
�œ
�œ.�œ
�œ�œ#
�œ
�œ
�œ
? �œ
emporté �œ
�œb
�œ
?
?
51 �œ �œb
�œ
�œ �œ
�œ�œb
�œ
accusé
�œ �œb �œ �œb �œ �œ �œb �œ �œb
�œ
�œ
�œ
.�œ
�œ
�œ �œ
�œ�œ?
?
54 �œ
�œ#
�œ
�œ
�œ �œ
�œ#
�œ
�œ
�œ �œ
�œ�œ#
�œ#
accusé
�œ �œ �œ �œ �œ �œ# �œ �œ �œ
�œ#
�œ
�œ
?
?
57 �œ
velouté
�œb
�œ
�œ
�œ
�œ
�œb
�œ & �œ �œ# �œ �œ#
�œ
�œ
�œ
�œn3
? �œ �œb
�œ
�œ �œ
�œ
�œ
�œb
�œ &
22
AP �• 400
Cinq petites mélodies
FOR REFERENCE ONLY
NOT FOR PUBLIC
PERFORMANCE USE
DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
&
?
60
�œ �œb
�œ
�œb
�œ
? �œb �œ
�œ
�œ �œ
�œ�œb
�œ�œb �œ �œb �œ
�œ
�œ
�œ
�œ
3
?
?
63 �œb �œ
�œ
�œb
�œ
�œ
�œ
fluide
toujours toutes les cordes (très enveloppé de pédales)
�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
&
?
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
&
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
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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
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NOT FOR PUBLIC
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DO NOT DUPLICATE
OR REPRODUCE
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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
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DO NOT DUPLICATE
OR REPRODUCE
WITHOUT PERMISSION
&
?
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
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OR REPRODUCE
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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
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