A fala da paixão

Egberto Gismonti
adaptação Daniel Murray

 = 75    
      
       
       


       
0 0

 
0 0


0 0 0



cantando a melodia

            
1
3 4 3 2 3
1 1 1

     
5 1 4
1 1

     

       
             
2

 
       
8 3 4 0
1

 
 4
      a


2

           
i+a 1 0

   
1

 
0 p+i a

  
p+i 3

 
1 0

 
11 4 0 1 1

    
1 4 3 1


 a 
3 3 2


3 3 3 1 1/2 1
CV

   
2 0

     
2 1/2
CIII

   
p+i
14

   
1

2 p+i


 4 
4


1

        
   
16 1

   
3 2 2 2
3 2
1/2 VI CIII
+ C ------------------------------

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All Rights of Reproduction in Any Form Reserved
 
  
              
            
18 1.

  
2

2 3

    
p+i 3 1 1

2.

                
p+i

 
      
        
CIV----------------

      
21 3 4
1

  
3

  
     
4 1 2 1
2 3

      
          
1
1/2
CX


4 1/2 X
C

 
+1/2CX 3 4 4
3 4 i
1

      
1/2 X
C


25


1


2 1 3


2 1 2


2 1 2 2 1 2 2


1

     
    
         
  
arpejo distante 4 4 4

   
29 2


4




 
2 2 3

   
4 4 3


3 3 2 0


1 0 1

          
    
4
3

  
3

 
2 4 4 4
32 4

     


  
3

  
2 0 3 0 3 0

 
2 2


0 0 1 1

    
      
3

  
1/2
CIII

 
0

 
35 i+a 4 4 4 3

       
2


2 2

  1 
2 2 2 3 1 0
1 2 1 0
0 0 0



       
   
39 4

   
0 0
0

2
  

   
   
D.S. al Coda ralentando

       
41

 M.E i
  * nas cordas da cravelha. Notação de altura aprox.
   
   
0


   
0 0
0 0
45


  M.D a+i

0 0 **executado na XXIIIa posição. Deve soar oitava acima.
0

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