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Edivaldo de Paula

Círculo das Quintas OMB-47.345


Maestoso q = 70 for Concert Band-Séries Estudos Coletivos
Bb (Sí bemol Maior) Concert

VIII

1/2
    
I II III 1/2 IV V VI VII VII VI V IV 1/2 III II I
         
Piccolo      

1/2
    
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
    
Flute 1, 2          
VIII

1/2
    
I II III 1/2 IV V VI VII VII VI V IV 1/2 III II I
    
Oboe 1, 2          
1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

              
 
Clarinet in Bb 1
1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

Clarinet in Bb 2                 
1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
Bass Clarinet
              
in Bb  1/2

III 1/2 IV
  
1/2 III
 
I II V VI VII VIII VII VI V IV II I
         
Bassoon     
1/2
    
III 1/2 IV 1/2 III
 
I II V VI VII VIII VII VI V IV II I

Alto Saxophone 1, 2            
1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
     
Tenor Saxophone            
1/2
    
III 1/2 IV 1/2 III
 
I II V VI VII VIII VII VI V IV II I

Baritone Saxophone            

1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
    
          
Trumpet in Bb 1, 2
 1/2
 

III 1/2 IV 1/2 III
 
I II V VI VII VIII VII VI V IV II I
    
Horn in F 1, 2           
1/2
  
III 1/2 IV 1/2 III
 
I II V VI VII VIII VII VI V IV II I
             
Trombone 1, 2 
1/2
  
III 1/2 IV 1/2 III
 
I II V VI VII VIII VII VI V IV II I
         
Euphonium     
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
    
        
   
Tuba
 

1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
     
   
    
Timpani     
Maestoso q = 70
Bb (Sí bemol Maior) Concert
R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R

L L L L L L L L L L L L L L

                                                             
 
Percussion 1

VIII

1/2
     
III 1/2 IV 1/2 III

I II
 
V VI
VII VII VI V

IV

II I

Xylophone    
   


1/2
    
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
             
Violin 1 opc.  
1/2
III 1/2 IV 1/2 III

I II V VI VII VIII VII VI V IV II I

             

   
Violin 2 opc.
1/2
    
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

             
Viola opc.
1/2
  
III 1/2 IV 1/2 III
 
I II V VI VII VIII VII VI V IV II I
             
Violoncello opc. 
1/2
  
III 1/2 IV 1/2 III
 
I II V VI VII VIII VII VI V IV II I
         
Contrabass      

Copyright © Orquestra de Sopros de Jales


2 F (Fá Maior)

  
VII 1/2 VIII
  
I II III IV V VI VII VI V IV III II I
     
1/2 1/2
   
9

Picc.   

1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II I
   
Fl. 1, 2          
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II I

            
Ob. 1, 2 
1/2
    
1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II I

       
Cl. 1   
1/2
 
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
   
Cl.
 1/2

 
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
   
B. Cl.
 

1/2
VII 
1/2
 
VIII

 
I

II

III
IV
 
V VI 1/2 VII VI

V
IV
 
III

II

I

Bsn. 
1/2
 
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

          
Alto Sax.
1, 2     
1/2
    
1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II I

       
Ten. Sax.   
1/2
 
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
B. Sax.       
1/2
  
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

Tpt. 1, 2    
         
 1/2


I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

       
Hn. 1, 2
       
  
VII 1/2 VIII
  
I II III IV V VI VII VI V IV III II I
     
1/2 1/2
    
Tbn. 1, 2  
  
VII 1/2 VIII
  
I II III IV V VI VII VI V IV III II I
     
1/2 1/2
    
Euph. 
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
Tba.       
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

    
  
Timp.        
 

F (Fá Maior)
R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L

                                                                  


Perc. 1               
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II I

Xyl.             
  
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II I

Vln. 1           
 

 
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II I

            
Vln. 2 
1/2
1/2 1/2

I II III IV V VI VII VIII VII VI V IV III II I
          
Vla.     
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
Vc.
     
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
       
Cb.           
3

C (Dó Maior)

   
1/2
 
I
 
II III IV V VI VII VIII VII VI V IV III II
 
1/2 1/2
 
17

Picc. 
   

   
1/2
 
I
 
II III IV V VI VII VIII VII VI V IV III II
 
1/2 1/2
    
Fl. 1, 2 
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

         
Ob. 1, 2
    
1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

          
Cl. 1    
1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

Cl.              
1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

          
B. Cl.    
1/2
    
I 1/2 1/2
 
II III IV V VI VII VIII VII VI V IV III II

Bsn.
       
1/2
     
I 1/2 1/2
 
II III IV V VI VII VIII VII VI V IV III II
Alto Sax.
       
1, 2
1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

Ten. Sax.              
1/2
     
I 1/2 1/2
 
II III IV V VI VII VIII VII VI V IV III II

      
B. Sax.

1/2
 
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

Tpt. 1, 2          
    
1/2
   
1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II

Hn. 1, 2          
1/2
    
I 1/2 1/2
 
II III IV V VI VII VIII VII VI V IV III II

Tbn. 1, 2
       
1/2
    
I 1/2 1/2
 
II III IV V VI VII VIII VII VI V IV III II

Euph.
       
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II
 
         
  
Tba.

1/2
I II III 1/2 IV V VI VII VIII VII VI V
V IV 1/2 III II
 
 
     
 
Timp.      

C (Dó Maior)
RL L RL LRLL RL L RLL RL LRL L RL L RLL RL L RL L RL L RL L RL LRLL RL L RL LRL L RL L RL L RL L RL L RL LRLL RL L RLL RL L RL L
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Perc. 1

 
 
 
 
 
   
 
 
 
 
     
 
 
 
     
 
   
 
   
 
 

I II III 1/2 IV V VI VII 1/2 VIII VII VI V IV 1/2 III II

    
Xyl.
         

   
1/2
 
I
 
II III IV V VI VII VIII VII VI V IV III II
 
1/2 1/2
    
Vln. 1 

1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

       
Vln. 2
      
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II
         
Vla.
    
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II
   
         

Vc.
1/2
    
I
 
II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

Cb.
       

4
G (Sol Maior)
1/2
   
1/2
 
24 I I II III IV V VI VII VIII VII VI

Picc. 
    


1/2
   
1/2
 
I I II III IV V VI VII VIII VII VI

Fl. 1, 2       
1/2
   
1/2
 
I I II III IV V VI VII VIII VII VI

     

Ob. 1, 2
1/2
      
I I II III 1/2 IV V VI VII VIII VII VI
 
Cl. 1     
1/2
 
I I II III 1/2 IV V VI VII VIII VII VI

         
 
Cl.

1/2
 
I I II III 1/2 IV V VI VII VIII VII VI

         
 
B. Cl.

1/2

I I II III 1/2 IV V VI VII VIII VII VI
         
Bsn.
 
1/2
 
1/2

I I II III IV V VI VII VIII VII VI

        
Alto Sax.
1, 2  
1/2
      
I I II III 1/2 IV V VI VII VIII VII VI
 
Ten. Sax.  
  
1/2
 
1/2

I I II III IV V VI VII VIII VII VI

B. Sax.         
  
1/2
  
I I II III 1/2 IV V VI VII VIII VII VI

Tpt. 1, 2 
       
  
1/2
 
I I II III 1/2 IV V VI VII VIII VII VI

        
Hn. 1, 2
  
1/2
1/2

I I II III IV V VI VII VIII VII VI
        
Tbn. 1, 2
  
1/2
1/2

I I II III IV V VI VII VIII VII VI
         
Euph.
 
1/2
I I II III 1/2 IV V VI VII VIII VII VI
 
Tba.
       
 


1/2
I I II III 1/2 IV V VI VII VIII VII VI
  
Timp.
 

      

G (Sol Maior)
RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL RL L RLL RLL RLL RLL RLL RLL
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Perc. 1

     
                                                                               


1/2
  
1/2
 
I I II III IV V VI VII VIII VII VI

   
Xyl.
 

1/2
   
1/2
 
I I II III IV V VI VII VIII VII VI

Vln. 1 
    


1/2

I I II III 1/2 IV V VI VII VIII VII VI

      
   
Vln. 2
 1/2
1/2
   
I I II III IV V VI VII VIII VII VI
     
 

Vla.
1/2
1/2

I I II III IV V VI VII VIII VII VI
        
 

Vc.
1/2
1/2

I I II III IV V VI VII VIII VII VI
        
Cb.
   
5

D (Ré Maior)

 
30 V IV 1/2 III II I

I

II

III 1/2

IV

V 
VI

Picc. 
    


1/2
 
1/2
  

V IV III II I I II III IV V VI

Fl. 1, 2       

 
V IV 1/2 III II I I II III 1/2 IV V VI

        
Ob. 1, 2
  

  
V IV 1/2 III II I I II III 1/2 IV V VI

        
Cl. 1  

 
V IV 1/2 III II I I II III 1/2 IV V VI

         
 
Cl.

 
V IV 1/2 III II I I II III 1/2 IV V VI

    
   
B. Cl.
   1/2


V IV 1/2 III II I

I

II

III

IV

V

VI
    
Bsn.

   VI

1/2 1/2

V IV III II I I II III IV V
Alto Sax.
1, 2           

  
V IV 1/2 III II I I II III 1/2 IV V VI

Ten. Sax.          

    
1/2 1/2

V IV III II I I II III IV V VI

B. Sax.
          

  
V IV 1/2 III II I I II III 1/2 IV V VI

Tpt. 1, 2      
     
 
V IV 1/2 III II I I II III 1/2 IV V VI

        
  
Hn. 1, 2

 
1/2

V IV III II I I II III 1/2 IV V VI
      
Tbn. 1, 2   
 
1/2 1/2

V IV III II I I II III IV V VI
       
Euph.  
V IV 1/2 III II I I II III 1/2 IV V VI
 
    
  
Tba.
 


V IV 1/2 III II I I II III 1/2 IV V VI
 
 
 



Timp.    
 
D (Ré Maior)
RL L RL L RL L RL L RL L RL L RL L RLL L RRL RRL RRL RR L RRL RRL RRL RR L RRL RRL RRL RR
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Perc. 1



                                                                       

 
V IV 1/2 III II I I II III 1/2 IV V VI
     
Xyl.
     

 
V IV 1/2 III II I

I

II

III 1/2

IV

V 
VI

Vln. 1 
    

 
V IV 1/2 III II I I II III 1/2 IV V VI

     
Vln. 2
    
1/2 
1/2

 
V IV III II I I II III IV V VI
       
Vla.
  
V IV 1/2 III II I I II III 1/2 IV V VI
     
Vc.       

 
1/2 1/2

V IV III II I I II III IV V VI
      
Cb.
   
6
A (Lá Maior)

   
1/2

I

VII VIII VII VI V IV III II I II
 
1/2
   
36

Picc. 
  

   
1/2

I

VII VIII VII VI V IV III II I II
 
1/2
  
Fl. 1, 2   
1/2
 
VII VIII VII VI V IV 1/2 III II I I II

        
Ob. 1, 2   
1/2
 
1/2

VII VIII VII VI V IV III II I I II

Cl. 1              
1/2
   
1/2

VII VIII VII VI V IV III II I I II

       


Cl.
1/2
 
VII VIII VII VI V IV 1/2 III II I I II

      


  
B. Cl.
1/2   
   
1/2
 
VIII
 
VII VII VI V IV III II I II
 
I
Bsn.
   

1/2
       
I

VII VIII VII VI V IV 1/2 III II I II

Alto Sax.
1, 2         
1/2
    
1/2

VII VIII VII VI V IV III II I I II

Ten. Sax.         


1/2
       
I

VII VIII VII VI V IV 1/2 III II I II

B. Sax.
         
1/2
   
1/2

VII VIII VII VI V IV III II I I II

Tpt. 1, 2 
     
  
1/2

 
VII VIII VII VI V IV 1/2 III II I I II

         
  
Hn. 1, 2
1/2

   
1/2

I

VII VIII VII VI V IV III II I II
    
Tbn. 1, 2  

1/2

    
I

VII VIII VII VI V IV 1/2 III II I II
    
Euph.  
1/2
1/2

VII VIII VII VI V IV III II I I II
 
Tba.
           
1/2
 
VII VIII VII VI V IV 1/2 III II I I II
 

 
 
 
 
Timp. 
 
A (Lá Maior)
LRRLRRLRRLRR LRRLRRLRRL RR LRRLRRLRRLRR LRRLRRLRRLRR LRR LRR LRR LRR
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Perc. 1

                                                  

              


1/2

VII VIII VII VI V IV 1/2 III II I I II

        
Xyl.
   

   
1/2

I

VII VIII VII VI V IV III II I II
 
1/2
     
Vln. 1  
1/2
 
VII VIII VII VI V IV 1/2 III II I I II

          

Vln. 2
1/2


1/2

 
VII VIII VII VI V IV III II I I II
       
Vla.
  
1/2
1/2

VII VIII VII VI V IV III II I I II
     
Vc.      

1/2

    
I

VII VIII VII VI V IV 1/2 III II I II
    
Cb.
   
7

1/2
      
1/2 1/2
 
42 III IV V VI VII VIII VII VI V IV III II

Picc. 
    
1/2
     
III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II
   
Fl. 1, 2    
1/2
     
1/2 1/2
 
III IV V VI VII VIII VII VI V IV III II

Ob. 1, 2      


1/2
       
III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II
 
Cl. 1      
1/2
 
III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

Cl.              
1/2

III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

B. Cl.               
1/2

1/2 1/2
  
III IV V VI VII VIII VII VI V IV III II

Bsn.         
1/2
  
1/2 1/2
 
III IV V VI VII VIII VII VI V IV III II
Alto Sax.
1, 2            

1/2
       
III IV V VI VII VIII VII VI V IV III II
 
1/2 1/2
  
Ten. Sax.   
1/2
  
1/2 1/2
 
III IV V VI VII VIII VII VI V IV III II

B. Sax.
            
1/2
 
III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

Tpt. 1, 2          
   
1/2

1/2 1/2

III IV V VI VII VIII VII VI V IV III II

Hn. 1, 2              
1/2

1/2 1/2
  
III IV V VI VII VIII VII VI V IV III II

       
Tbn. 1, 2 
1/2

1/2 1/2
  
III IV V VI VII VIII VII VI V IV III II

Euph.         
1/2
1/2 1/2
 
III IV V VI VII VIII VII VI V IV III II

Tba.
             
1/2
1/2 1/2
 
III IV V VI VII VIII VII VI V IV III II
  
 


 
 
Timp.
   

L R R L R R L R R L RR L RR LRR LRR LRR L RR LRR L RR LRR L RR LRR LRR LRR L RR LRR L RR LRR L RR LRR L RR LRR
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Perc. 1

 


  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

     
III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II
   
   
1/2
Xyl.

1/2
      
1/2 1/2
 
III IV V VI VII VIII VII VI V IV III II

Vln. 1 
    
1/2

III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

         
  
Vln. 2

1/2

     
III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

Vla.       
1/2

1/2 1/2
  
III IV V VI VII VIII VII VI V IV III II

Vc.         
1/2

1/2 1/2
   
III IV V VI VII VIII VII VI V IV III II
     
Cb.
    
8
E (Mi Maior) Enharmonic Fb


1/2
  
I

I II III IV V VI VII VIII

1/2
     
48

Picc.  
1/2
 
1/2

I I II III IV V VI VII VIII

      
Fl. 1, 2  
1/2
 
1/2

I I II III IV V VI VII VIII

      
Ob. 1, 2
 
1/2
   
1/2

I I II III IV V VI VII VIII

Cl. 1           
1/2
   
I I II III 1/2 IV V VI VII VIII

  
   
  
Cl.
  1/2
  
I I II III IV V VI VII 1/2 VIII

   
   
  
B. Cl.
 
VI
  
1/2

VIII
    VII
I I II III IV V
 
1/2
Bsn. 
1/2
 
1/2


I I II III IV V VI VII VIII
Alto Sax.
1, 2            
1/2
    
1/2

I I II III IV V VI VII VIII

Ten. Sax.         
1/2
 
1/2


I I II III IV V VI VII VIII

B. Sax.
            

1/2
    
1/2

I I II III IV V VI VII VIII

Tpt. 1, 2         
 1/2
 
I I II III 1/2 IV V VI VII VIII

         
 
Hn. 1, 2
1/2

1/2
  
I

I II III IV V VI VII VIII
     
Tbn. 1, 2 

1/2
  
I

I II III IV V VI VII VIII

1/2
    
Euph. 
1/2
1/2
  
I I II III IV V VI VII VIII
 
Tba.
       

1/2
I I II III 1/2 IV V VI VII VIII

    

 
 
Timp. 

E (Mi Maior) Enharmonic Fb


RL RR L R LL RL RR L R LL RL RR L R LL RL R R L R LL RL RR L R LL RL RR L R LL RL RR L R LLRL RR L R LL

Perc. 1

                                                                       

 
1/2 1/2

I I II III IV V VI VII VIII

      
Xyl.
  
1/2
  
1/2

I I II III IV V VI VII VIII

Vln. 1      
  
1/2
 
1/2

I I II III IV V VI VII VIII

     
 

Vln. 2
1/2

  
I I II III 1/2 IV V VI VII VIII

   
Vla.     
1/2
1/2
 
I I II III IV V VI VII VIII

   
Vc.     
1/2
1/2
  
I I II III IV V VI VII VIII
 
Cb.
        
9
B (Sí Maior) Enharmonic Cb

VII
 
VI

V

IV 1/2 III II I I II III IV
     
1/2
 
53

Picc.    

 
1/2 1/2

VII VI V IV III II I I II III IV

Fl. 1, 2              

  
1/2 1/2

VII VI V IV III II I I II III IV

Ob. 1, 2             

   
1/2 1/2


VII VI V IV III II I I II III IV

Cl. 1             

  
1/2 1/2


VII VI V IV III II I I II III IV

        
 
Cl.

1/2  
 
1/2


VII VI V IV III II I I II III IV

         
 
B. Cl.
 

1/2
  
1/2
   
VII VI V IV III II I I II III IV
    
Bsn. 
1/2 1/2
  
VII VI V IV III II I I II III IV
Alto Sax.
1, 2          
  

   
1/2 1/2


VII VI V IV III II I I II III IV

Ten. Sax.           
1/2 1/2
    
VII VI V IV III II I I II III IV

B. Sax.          
   

   
1/2 1/2


VII VI V IV III II I I II III IV

Tpt. 1, 2        
   

  
VII VI V IV 1/2 III II I I II III 1/2 IV

            
 
Hn. 1, 2

VII
 VI
  
1/2 1/2
  
V IV III II I I II III IV
    
Tbn. 1, 2  
VII
 VI
  
1/2 1/2
   
V IV III II I I II III IV
    
Euph. 
1/2 1/2
   
VII VI V IV III II I I II III IV

Tba.
        
  

VII VI V IV 1/2 III II I I II III 1/2 IV

      



Timp.  

B (Sí Maior) Enharmonic Cb


R L RR L R LL R LR R L R LL R L RR L R LL R LR R L R LL R L RR L R LL R L RR L R LL R L RR L R LL R LR R L R LL R L RR L R LL R LR R L R LL

Perc. 1

 
    
    
    
    
    
          
  
    
    
    
   

 
VII VI V IV 1/2 III II I I II III 1/2 IV

            
 
Xyl.

    
1/2 1/2

VII VI V IV III II I I II III IV

Vln. 1 
     
  
 
VII VI V IV 1/2 III II I I II III 1/2 IV

            
 
Vln. 2

    
VII VI V IV 1/2 III II I I II III 1/2 IV
    
Vla.     
1/2 1/2
   
VII VI V IV III II I I II III IV

    
Vc.     
1/2 1/2
  
VII VI V IV III II I I II III IV

Cb.
             
10

F# (Fá sustenido Maior) Enharmonic


1/2
         
V VI VII VIII VII VI V IV III II I

1/2

59

Picc.      

1/2
          
V VI VII VIII VII VI V IV 1/2 III II I

Fl. 1, 2       

1/2
         
V VI VII VIII VII VI V IV III II I

1/2

Ob. 1, 2       
1/2
1/2
 
V VI VII VIII VII VI V IV III II I

Cl. 1              


1/2
1/2
 
V VI VII VIII VII VI V IV III II I
  
Cl.            
1/2
1/2
 
V VI VII VIII VII VI V IV III II I

B. Cl.              


1/2
  
1/2
     
V VI VII VIII VII VI V IV III II I
    
Bsn.  
1/2
    
V VI VII VIII VII VI V IV 1/2 III II I
   
Alto Sax.
1, 2       
1/2
1/2
 
V VI VII VIII VII VI V IV III II I
  
Ten. Sax.            
1/2
  VIII
  
V VI VII VII VI V IV 1/2 III II I
      
B. Sax.     

1/2
1/2
  
V VI VII VIII VII VI V IV III II I

Tpt. 1, 2               
1/2
  
1/2
  
V VI VII VIII VII VI V IV III II I

Hn. 1, 2           
1/2
  
1/2
     
V VI VII VIII VII VI V IV III II I
   
Tbn. 1, 2   
1/2
  
1/2
     
V VI VII VIII VII VI V IV III II I
    
Euph.  
1/2
1/2
   
V VI VII VIII VII VI V IV III II I

Tba.
            


1/2
 
1/2
 
V VI VII VIII VII VI V IV III II I
    

 
Timp.
 

F# (Fá sustenido Maior) Enharmonic


R L R R L R L L R LR R L R L L R L R R L R L L R LR R L R L L R L R R L R L L R LR R L R L L R L R R L R L L R LR R L R L L R L R R L R L L R LR R L R L L

Perc. 1

 
    
    
    
    
    
    
    
    
    
    

  
V VI VII 1/2 VIII VII VI V IV 1/2 III II I

            
 
Xyl.


1/2
         
V VI VII VIII VII VI V IV III II I

1/2
   
Vln. 1   
1/2
  
V VI VII VIII VII VI V IV 1/2 III II I

            
 
Vln. 2
1/2
  
      
V VI VII VIII VII VI V IV 1/2 III II I
    
Vla. 
1/2
  
1/2
     
V VI VII VIII VII VI V IV III II I
    
Vc.  
1/2
  
1/2
      
V VI VII VIII VII VI V IV III II I
 
Cb.
      
11

  
VII 1/2 VIII
  
I II III IV V VI VII VI V IV III II I
     
1/2 1/2
       
65

Picc.  
1/2
  
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I

Fl. 1, 2               
1/2
  
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I

Ob. 1, 2               
1/2
    
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
   
Cl. 1           
1/2
III 1/2 IV 1/2
 
I II V VI VII VIII VII VI V IV III II I

            
   
Cl.
1/2
  VIII
  
I II III 1/2 IV V VI VII VII VI V IV III II I
   
1/2

B. Cl.           
1/2
III 1/2 IV 1/2
 
I II V VI VII VIII VII VI V IV III II I

         
Bsn.       
1/2
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I

           
Alto Sax.
1, 2    
1/2
  VIII
  
I II III 1/2 IV V VI VII VII VI V IV 1/2 III II I
       
Ten. Sax.       
1/2
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I

B. Sax.             
    
1/2
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I

Tpt. 1, 2        
         
1/2

 
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

Hn. 1, 2                  


1/2
III 1/2 IV 1/2
 
I II V VI VII VIII VII VI V IV III II I
  
Tbn. 1, 2              
1/2
III 1/2 IV 1/2
 
I II V VI VII VIII VII VI V IV III II I

         
Euph.       
1/2
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I

       
   
Tba.

       
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
   
        
  
Timp.
  

R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L R R L RL L R L R R L R L L R L R R L RL L

Perc. 1

                                                            
1/2
  
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I

Xyl.
               
1/2
   
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I

Vln. 1           
  
1/2
  
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I

Vln. 2               
1/2

  
III 1/2 IV 1/2

I II V VI VII VIII VII VI V IV III II I

        
Vla.     
1/2
III 1/2 IV 1/2
 
I II V VI VII VIII VII VI V IV III II I

         
Vc.       
1/2
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I
  
Cb.
               
12
Db (Ré bemol Maior)-Enharmonica -C#

  
VII 1/2 VIII
  
I II III IV V VI VII VI V IV III II I
     
1/2 1/2
      
73

Picc.    


   
VII 1/2 VIII
 
I II III IV V VI VII VI V IV III II I
     
1/2 1/2
   
Fl. 1, 2     
1/2
III 1/2 IV 1/2
 
I II V VI VII VIII VII VI V IV III II I

Ob. 1, 2                  


1/2
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I

             
Cl. 1   
1/2
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I
   
Cl.             
1/2
III 1/2 IV 1/2
 
I II V VI VII VIII VII VI V IV III II I

      
   
B. Cl.
     
 VIII
 
1/2 1/2
   VII   
II III IV V VI VII VI V IV III II
     
I I
   
1/2
Bsn. 
VIII

1/2
    
I II III 1/2 IV V VI VII VII VI V IV III II I
 
1/2
      
Alto Sax.
1, 2    
1/2
III 1/2 IV 1/2
  
I II V VI VII VIII VII VI V IV III II I
   
Ten. Sax.             
VIII

1/2
    
I II III 1/2 IV V VI VII VII VI V IV III II I
 
1/2
      
B. Sax.
    

1/2
III 1/2 IV 1/2
   
I II V VI VII VIII VII VI V IV III II I

Tpt. 1, 2             
   
1/2
III 1/2 IV 1/2
 
I II V VI VII VIII VII VI V IV III II I

           
     
Hn. 1, 2


VII 1/2 VIII
    
I II III 1/2 IV V VI VII VI V IV III II I
   
1/2
       
Tbn. 1, 2   
VIII

1/2
    
I II III 1/2 IV V VI VII VII VI V IV III II I
 
1/2
         
Euph.   
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
 
               
 
Tba.

VIII
1/2
 
I II III 1/2 IV V VI VII VII VI V IV III II I
 
1/2
    

  
 

Timp.
 
 
Db (Ré bemol Maior)-Enharmonica -C#
R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L

Perc. 1

                                                                  



1/2
III 1/2 IV 1/2
 
I II V VI VII VIII VII VI V IV III II I

Xyl.             
      

  
VII 1/2 VIII
  
I II III IV V VI VII VI V IV III II I
     
1/2 1/2
       
Vln. 1    
1/2
III 1/2 IV 1/2
 
I II V VI VII VIII VII VI V IV III II I

Vln. 2                  


1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
             
Vla.
   
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
Vc.            

VII 1/2 VIII
    
I II III 1/2 IV V VI VII VI V IV III II I
 
1/2
      
Cb.
     
13
Ab (Lá bemol Maior)

1/2
  VIII
  
I II III 1/2 IV V VI VII VII VI V IV 1/2 III II
   
81

Picc.          
1/2
    
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II
  
Fl. 1, 2          
1/2
  VIII
  
I II III 1/2 IV V VI VII VII VI V IV 1/2 III II
  
Ob. 1, 2          

VIII

1/2
    
I II III IV V VI VII VII VI V IV III II
 
1/2 1/2
      
Cl. 1   
1/2
1/2 1/2

I II III IV V VI VII VIII VII VI V IV III II

             

Cl.
1/2
1/2 1/2

I II III IV V VI VII VIII VII VI V IV III II

             

B. Cl.
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II
            
Bsn.  
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II

          
Alto Sax.
1, 2 

1/2
    
I II III IV V VI VII VIII VII VI V IV III II
 
1/2 1/2
      
Ten. Sax.   
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II

          
B. Sax.
 
1/2
1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II

Tpt. 1, 2         
      
1/2
1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II

             
Hn. 1, 2  
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II
         
Tbn. 1, 2     
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II
            
Euph.  
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II
 
Tba.
            
  
1/2

I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II
  
Timp.
      

    

Ab (Lá bemol Maior)


RLL RL L RLL RLL RLL RL L RL L RLL RLL RLL RL L RLL RLL RLL RL L RL L RLLRLL RL L RL L RL LRLL RLL RLL RL L RLL RLL RLL
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Perc. 1

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

  
1/2
 
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II
      
Xyl.      

1/2
  VIII
  
I II III 1/2 IV V VI VII VII VI V IV 1/2 III II
       
Vln. 1      
1/2
1/2 1/2

I II III IV V VI VII VIII VII VI V IV III II

           
    
Vln. 2
1/2

    
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II

Vla.           
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II
            
Vc.  
1/2

1/2 1/2
 
I II III IV V VI VII VIII VII VI V IV III II
    
Cb.
         
14

  
1/2
 
I I II III IV V VI VII VIII VII VI
  
1/2
    
88 Eb (Mí bemol Maior)

Picc.    

VIII

1/2
   
I I II III IV V VI VII VII VI
 
1/2
  
Fl. 1, 2      
1/2
1/2
  
I I II III IV V VI VII VIII VII VI

Ob. 1, 2             
1/2

1/2
  
I I II III IV V VI VII VIII VII VI

         
Cl. 1 
1/2
1/2

I I II III IV V VI VII VIII VII VI

 
     
  
Cl.
  1/2 1/2

I I II III IV V VI VII VIII VII VI

 
     
  
B. Cl.
 
  
1/2
 
VIII
 
VII

I I II III IV V VI VII VI
     
1/2
Bsn.  
1/2
I I II III 1/2 IV V VI VII VIII VII VI

       
Alto Sax.
1, 2     
1/2

1/2
  
I I II III IV V VI VII VIII VII VI
  
Ten. Sax.        
1/2
I I II III 1/2 IV V VI VII VIII VII VI

         
B. Sax.
   
1/2

1/2
   
I I II III IV V VI VII VIII VII VI

Tpt. 1, 2         

 1/2
1/2
 
I I II III IV V VI VII VIII VII VI

           
 
Hn. 1, 2


1/2
   
I VIII

I II III IV V VI VII VII VI

1/2
   
Tbn. 1, 2     
 VIII
 
1/2
 
I I II III IV V VI VII VII VI
 
1/2
    
Euph.    
1/2
I I II III 1/2 IV V VI VII VIII VII VI
 
Tba.
             

VIII
I I II III IV V VI VII 1/2 VII VI
 
1/2
 
  

 
 
  
Timp.

Eb (Mí bemol Maior)
RL L RL L RL L RLL RL L RL L RLL RL L RL L RL L RLL RLL RL L RLL RLL RLL RLL RLL RLL RLL
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Perc. 1

     
     
   

       
 
             
   
   

                       
      
           
  

1/2 1/2
   
I I II III IV V VI VII VIII VII VI

Xyl.           
 

  
1/2
 
I I II III IV V VI VII VIII VII VI
  
1/2
    
Vln. 1    
1/2
1/2
   
I I II III IV V VI VII VIII VII VI

          

Vln. 2
1/2
I I II III 1/2 IV V VI VII VIII VII VI
            
Vla.

1/2
I I II III 1/2 IV V VI VII VIII VII VI
         
Vc.      

1/2
   
I I II III IV V VI VII VIII VII VI
 
1/2
  
Cb.
     
15
Bb (Sí bemol Maior)

   IV

1/2
 
V III II I I II III 1/2 IV
   
94

Picc.   
 

 V 
1/2
 
IV III II I I II III 1/2 IV
      
Fl. 1, 2  
1/2 1/2
   
V IV III II I I II III IV

       
Ob. 1, 2  

1/2 1/2

V IV III II I I II III IV

       
Cl. 1 
V IV 1/2 III II I I II III 1/2 IV

 

   
 
Cl.

1/2  
V IV III II I I II III 1/2 IV

 

   
 
B. Cl.

1/2  
   
1/2

V IV III II I I II III IV
      
Bsn. 


V IV 1/2 III II I I II III 1/2 IV

     
Alto Sax.
1, 2    

1/2 1/2

V IV III II I I II III IV

Ten. Sax.         


V IV 1/2 III II I I II III 1/2 IV

  
B. Sax.
      

V IV 1/2 III II I I II III 1/2 IV

Tpt. 1, 2  
       
  
1/2 1/2

V IV III II I I II III IV

   
    
 
Hn. 1, 2
1/2

   
1/2

V IV III II I I II III IV
 
Tbn. 1, 2      

   
1/2 1/2

V IV III II I I II III IV
      
Euph. 
V IV 1/2 III II I I II III 1/2 IV

         
 
Tba.

V 
IV 1/2 III II I I II III 1/2 IV
  
 
   
Timp. 

Bb (Sí bemol Maior)


R L L R L L R L L R L L R L L R L L R L L R L L
3 3 3 3 3 3 3 3 R L R R L R L L RL R R L R LL RL R R L R L L RL R R L R L L

Perc. 1



                            













                                
1/2 1/2
 
V IV III II I I II III IV

Xyl.
            

   IV

1/2
 
V III II I I II III 1/2 IV
     
Vln. 1   

1/2 1/2
 
V IV III II I I II III IV

         
 
Vln. 2

V IV 1/2 III II I I II III 1/2 IV


          
Vla.

V IV 1/2 III II I I II III 1/2 IV
       
Vc.     
   
1/2 1/2

V IV III II I I II III IV
 
Cb.
      
16


1/2
   
V VI VII VIII VII VI V IV III II I
  
1/2

99

Picc.  
  

VIII

1/2
   
V VI VII VII VI V IV III II I
 
1/2
  
Fl. 1, 2  

VIII

1/2
   
V VI VII VII VI V IV III II I
 
1/2
  
Ob. 1, 2  

1/2
      
V VI VII VIII VII VI V IV III II I

1/2
  
Cl. 1 
1/2
V VI VII VIII VII VI V IV 1/2 III II I

        
Cl.
  
1/2
V VI VII VIII VII VI V IV 1/2 III II I

        
B. Cl.   
1/2
  
1/2
 
V VI VII VIII VII VI V IV III II I

Bsn.
       
1/2
   
1/2
 
V VI VII VIII VII VI V IV III II I
Alto Sax.
1, 2       

1/2
     
V VI VII VIII VII VI V IV III II I

1/2
  
Ten. Sax. 
1/2
   
1/2
 
V VI VII VIII VII VI V IV III II I

B. Sax.
       
1/2
V VI VII VIII VII VI V IV 1/2 III II I

Tpt. 1, 2 

          
1/2

1/2
 
V VI VII VIII VII VI V IV III II I

       
Hn. 1, 2 
1/2
  
1/2
 
V VI VII VIII VII VI V IV III II I
    
Tbn. 1, 2  
1/2
  
1/2
 
V VI VII VIII VII VI V IV III II I

Euph.
       
1/2
V VI VII VIII VII VI V IV 1/2 III II I

Tba.
            
1/2

V VI VII VIII VII VI V IV 1/2 III II I
   
 
    
Timp.
  

RL R R L R LLRLRR L R LL RL RR L R LL RLRR L R LL RL RR L R LLRLRR L R LL RL RR L R LLRLRR L R LL RL RR L R LLRLRR L R LL

Perc. 1

   
    
    
  
  
     
  
  
 
 
     
    
     
    



1/2 1/2

V VI VII VIII VII VI V IV III II I

Xyl.
            

1/2
   
V VI VII VIII VII VI V IV III II I
  
1/2
  
Vln. 1   
1/2
1/2

V VI VII VIII VII VI V IV III II I

           
Vln. 2
1/2
V

VI

VII

VIII

VII

VI V IV 1/2 III II I

Vla.        
1/2
  
1/2
 
V VI VII VIII VII VI V IV III II I

Vc.
       
1/2
  
1/2
 
V VI VII VIII VII VI V IV III II I
    
Cb.
  
Xylophone Círculo das Quintas
Edivaldo de Paula
for Concert Band-Séries Estudos Coletivos OMB-47.345
Maestoso q = 70
Bb (Sí bemol Maior) Concert
I II III IV V VI VII VIII VII VI V IV III II I


1/2

      
1/2 1/2
      
     
F (Fá Maior) 1/2


III 1/2 IV IV 1/2 III
 
9 I II V VI VII VIII VII VI V II I
   
         
C (Dó Maior) 1/2


17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

        
      
G (Sol Maior) 1/2

    
III 1/2 IV IV 1/2 III
 
25 I II V VI VII VIII VII VI V II I

          
D (Ré Maior) 1/2

 
33 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
I II III IV V VI VII VIII VII VI V IV III II I
1/2

       
A (Lá Maior) 1/2 1/2

41

        
E (Mi Maior) Enharmonic Fb 1/2

 
III 1/2 IV IV 1/2 III

49 I II V VI VII VIII VII VI V II I

               
B (Sí Maior) Enharmonic Cb 1/2

  
57 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
        
F# (Fá sustenido Maior) Enharmonica Gb 1/2

    
III 1/2 IV IV 1/2 III
  
65 I II V VI VII VIII VII VI V II I

             
Db (Ré bemol Maior)-Enharmonica -C# 1/2
III 1/2 IV IV 1/2 III
 
73 I II V VI VII VIII VII VI V II I
  
              
I II III IV V VI VII VIII VII VI V IV III II I
1/2

     
Ab (Lá bemol Maior) 1/2 1/2
   
81

          
Eb (Mí bemol Maior) 1/2
III 1/2 IV IV 1/2 III
  
89 I II V VI VII VIII VII VI V II I

             
  
Bb (Sí bemol Maior) 1/2
III 1/2 IV IV 1/2 III

97 I II V VI VII VIII VII VI V II I

           
   
Copyright © Orquestra de Sopros de Jales
Círculo das Quintas Edivaldo de Paula
Alto Saxophone for Concert Band-Séries Estudos Coletivos OMB-47.345
Maestoso q = 70

Bb (Sí bemol Maior) Concert 1/2

    
III 1/2 IV IV 1/2 III
 
I II V VI VII VIII VII VI V II I

       
  
F (Fá Maior) 1/2

 
9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

              
I II III IV V VI VII VIII VII VI V IV III II I
1/2

       


C (Dó Maior) 1/2 1/2

17

     
  
G (Sol Maior) 1/2

 
III 1/2 IV IV 1/2 III

25 I II V VI VII VIII VII VI V II I

               
I II III IV V VI VII VIII VII VI V IV III II I


1/2

          
D (Ré Maior) 1/2 1/2
 
33

         
A (Lá Maior) 1/2

   
III 1/2 IV IV 1/2 III
  
41 I II V VI VII VIII VII VI V II I

             
E (Mi Maior) Enharmonic Fb 1/2
III 1/2 IV IV 1/2 III
 
49 I II V VI VII VIII VII VI V II I

                 
I II III IV V VI VII VIII VII VI V IV III II I
1/2

     
1/2 1/2
     
57
 
B (Sí Maior) Enharmonic Cb

       
F# (Fá sustenido Maior) Enharmonica Gb 1/2
III 1/2 IV IV 1/2 III
  
65 I II V VI VII VIII VII VI V II I
   
            
I II III IV V VI VII VIII VII VI V IV III II I


1/2

      
Db (Ré bemol Maior)-Enharmonica
1/2 -C# 1/2
  
73

        
Ab (Lá bemol Maior) 1/2


III 1/2 IV IV 1/2 III
 
81 I II V VI VII VIII VII VI V II I

             

Eb (Mí bemol Maior) 1/2


89 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

       
       
Bb (Sí bemol Maior) 1/2

   
III 1/2 IV IV 1/2 III
 
97 I II V VI VII VIII VII VI V II I

          
Copyright © Orquestra de Sopros de Jales
Edivaldo de Paula
Baritone Saxophone Círculo das Quintas OMB-47.345
Maestoso q = 70 for Concert Band-Séries Estudos Coletivos
Bb (Sí bemol Maior) Concert 1/2

    
III 1/2 IV IV 1/2 III
 
I II V VI VII VIII VII VI V II I

       
  
F (Fá Maior) 1/2

 
9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

              
I II III IV V VI VII VIII VII VI V IV III II I
1/2

       
17 C (Dó Maior) 1/2 1/2
  
      
G (Sol Maior) 1/2

 
III 1/2 IV IV 1/2 III

25 I II V VI VII VIII VII VI V II I

               
I II III IV V VI VII VIII VII VI V IV III II I


1/2

          
33 D (Ré Maior) 1/2 1/2
 
         
A (Lá Maior) 1/2

   
III 1/2 IV IV 1/2 III
  
41 I II V VI VII VIII VII VI V II I

         
  
E (Mi Maior) Enharmonic Fb 1/2
III 1/2 IV IV 1/2 III
 
49 I II V VI VII VIII VII VI V II I
   
             
I II III IV V VI VII VIII VII VI V IV III II I
1/2

     
57 B (Sí Maior) Enharmonic1/2
Cb 1/2
         
     
F# (Fá sustenido Maior) Enharmonica Gb 1/2
III 1/2 IV IV 1/2 III
  
65 I II V VI VII VIII VII VI V II I
   
            
I II III IV V VI VII VIII VII VI V IV III II I


1/2

      
Db (Ré bemol Maior)-Enharmonica
1/2 -C# 1/2
  
73
   
    
Ab (Lá bemol Maior) 1/2


III 1/2 IV IV 1/2 III
 
81 I II V VI VII VIII VII VI V II I

             

Eb (Mí bemol Maior) 1/2


89 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

       
       
Bb (Sí bemol Maior) 1/2

   
III 1/2 IV IV 1/2 III
 
97 I II V VI VII VIII VII VI V II I

          
Copyright © Orquestra de Sopros de Jales
Círculo das Quintas Edivaldo de Paula
Bass Clarinet in Bb for Concert Band-Séries Estudos Coletivos OMB-47.345
Maestoso q = 70

Bb (Sí bemol Maior) Concert 1/2


I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
     
          
F (Fá Maior) 1/2

 
9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
C (Dó Maior) 1/2

 
17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

              
G (Sol Maior) 1/2

 
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

       
       
D (Ré Maior) 1/2

  
33 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

     

        
 1/2

  A (Lá Maior)  
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

            
       
E (Mi Maior) Enharmonic Fb 1/2

 
III 1/2 IV IV 1/2 III

49 I II V VI VII VIII VII VI V II I

      
           
B (Sí Maior) Enharmonic Cb 1/2
III 1/2 IV IV 1/2 III
 
57 I II V VI VII VIII VII VI V II I

                  
I II III IV V VI VII VIII VII VI V IV III II I
1/2

     
1/2Enharmonica Gb
F# (Fá sustenido Maior) 1/2
     
65

         
Db (Ré bemol Maior)-Enharmonica -C# 1/2
III 1/2 IV IV 1/2 III
 
73 I II V VI VII VIII VII VI V II I

    
       
   
Ab (Lá bemol Maior) 1/2
III 1/2 IV IV 1/2 III

81 I II V VI VII VIII VII VI V II I

           

   
Eb (Mí bemol Maior) 1/2
89 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

     

         
Bb (Sí bemol Maior) 1/2
97 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

       
       
Copyright © Orquestra de Sopros de Jales
Bassoon Edivaldo de Paula
Círculo das Quintas OMB-47.345
Maestoso q = 70 for Concert Band-Séries Estudos Coletivos

Bb (Sí bemol Maior) Concert 1/2


I II III 1/2 IV V VI VIIVIII VII VI V IV 1/2 III II I
             
     
I II III IV V VI VII VIII VII VI V IV III II I
1/2
9 F (Fá Maior) 1/2  1/2
          
    

I II III IV V VI VII VIII VII VI V IV III II I
1/2
17 C (Dó Maior) 1/2 1/2
           
    
G (Sol Maior) 1/2
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
     
I II III IV V VI VII VIII VII VI V IV III II I
1/2
33 D (Ré Maior) 1/2 1/2
         
        
A (Lá Maior) 1/2
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
         
       
I II III IV V VI VII VIII VII VI V IV III II I
1/2
49 E (Mi Maior) Enharmonic
1/2 Fb 1/2
         
        

B (Sí Maior) Enharmonic Cb 1/2
57 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
            
       
F# (Fá sustenido Maior) Enharmonica Gb 1/2
65 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
            
      
I II III IV V VI VII VIII VII VI V IV III II I
1/2
73 Db (Ré bemol Maior)-Enharmonica
1/2 -C# 1/2
                  
  
Ab (Lá bemol Maior) 1/2
81 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
        
I II III IV V VI VII VIII VII VI V IV III II I
1/2
89 Eb (Mí bemol Maior) 1/2 1/2
       
        
 
Bb (Sí bemol Maior) 1/2
97 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
         
      
Copyright © Orquestra de Sopros de Jales
Círculo das Quintas Edivaldo de Paula
Clarinet in Bb 1 for Concert Band-Séries Estudos Coletivos OMB-47.345
Maestoso q = 70

Bb (Sí bemol Maior) Concert 1/2


I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
     
          
F (Fá Maior) 1/2

    
III 1/2 IV IV 1/2 III
 
9 I II V VI VII VIII VII VI V II I

       
  
C (Dó Maior) 1/2

 
17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
I II III IV V VI VII VIII VII VI V IV III II I
1/2

       


25 G (Sol Maior) 1/2 1/2

      
  
D (Ré Maior) 1/2

  
III 1/2 IV IV 1/2 III

33 I II V VI VII VIII VII VI V II I
  
            
I II III IV V VI VII VIII VII VI V IV III II I


1/2

           
A (Lá Maior) 1/2 1/2
 
41
  
      
E (Mi Maior) Enharmonic Fb 1/2

  
III 1/2 IV IV 1/2 III
   
49 I II V VI VII VIII VII VI V II I

             
B (Sí Maior) Enharmonic Cb 1/2
III 1/2 IV IV 1/2 III
 
57 I II V VI VII VIII VII VI V II I

                  
I II III IV V VI VII VIII VII VI V IV III II I
1/2
   
F# (Fá sustenido Maior) Enharmonica Gb
 
1/2 1/2
     
65

         
Db (Ré bemol Maior)-Enharmonica -C# 1/2
III 1/2 IV IV 1/2 III
  
73 I II V VI VII VIII VII VI V II I
   
            
I II III IV V VI VII VIII VII VI V IV III II I


1/2

      
Ab (Lá bemol Maior) 1/2 1/2
  
81
   
    
Eb (Mí bemol Maior) 1/2


III 1/2 IV IV 1/2 III
 
89 I II V VI VII VIII VII VI V II I

            

I II III IV V VI VII VIII VII VI V IV III II I

   
1/2

     
97 Bb (Sí bemol Maior) 1/2 1/2
   
  

Copyright © Orquestra de Sopros de Jales


Clarinet in Bb 2
Círculo das Quintas
for Concert Band-Séries Estudos Coletivos

Maestoso q = 70 Edivaldo de Paula


Bb (Sí bemol Maior) Concert OMB-47.345
1/2


I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

       
       
F (Fá Maior) 1/2

 
9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

       
       
C (Dó Maior) 1/2

 
17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
G (Sol Maior) 1/2

 
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

           
   
D (Ré Maior) 1/2

  
III 1/2 IV IV 1/2 III

33 I II V VI VII VIII VII VI V II I

           
   
A (Lá Maior) 1/2

   
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

              

  
E (Mi Maior) Enharmonic Fb 1/2

  
III 1/2 IV IV 1/2 III

49 I II V VI VII VIII VII VI V II I

     
           
B (Sí Maior) Enharmonic Cb 1/2
III 1/2 IV IV 1/2 III
 
57 I II V VI VII VIII VII VI V II I

                 
F# (Fá sustenido Maior) Enharmonica Gb 1/2
III 1/2 IV IV 1/2 III
 
65 I II V VI VII VIII VII VI V II I

             
   
Db (Ré bemol Maior)-Enharmonica -C# 1/2
III 1/2 IV IV 1/2 III
  
73 I II V VI VII VIII VII VI V II I
   
            
Ab (Lá bemol Maior) 1/2
III 1/2 IV IV 1/2 III

81 I II V VI VII VIII VII VI V II I

             

 
Eb (Mí bemol Maior) 1/2
89 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

     

         
Bb (Sí bemol Maior) 1/2
97 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

          
    

Copyright © Orquestra de Sopros de Jales


Contrabass
Círculo das Quintas
for Concert Band-Séries Estudos Coletivos

Maestoso q = 70 Edivaldo de Paula


Bb (Sí bemol Maior) Concert OMB-47.345
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
          
F (Fá Maior) 1/2
9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
       
        
C (Dó Maior) 1/2
17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
           
    
G (Sol Maior) 1/2
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
       
I II III IV V VI VII VIII VII VI V IV III II I
1/2
33 D (Ré Maior) 1/2 1/2
       
          
A (Lá Maior) 1/2
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
         
       
E (Mi Maior) Enharmonic Fb 1/2
49 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
       
          
B (Sí Maior) Enharmonic Cb 1/2
57 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
              
     
F# (Fá sustenido Maior) Enharmonica Gb 1/2
65 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
      
            
Db (Ré bemol Maior)-Enharmonica -C#
I II III IV V VI VII VIII VII VI V IV III II I
1/2
73 1/2 1/2
                
   

Ab (Lá bemol Maior) 1/2
81 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
         
         
I II III IV V VI VII VIII VII VI V IV III II I
1/2
89 Eb (Mí bemol Maior) 1/2 1/2
        
       
 
Bb (Sí bemol Maior) 1/2
I II III 1/2 IV V VI VII IV 1/2 III
97
    VIII
 VII

VI

V

II I

        

Copyright © Orquestra de Sopros de Jales


Euphonium
Círculo das Quintas
for Concert Band-Séries Estudos Coletivos

Maestoso q = 70 Edivaldo de Paula


Bb (Sí bemol Maior) Concert OMB-47.345
1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
          
I II III IV V VI VII VIII VII VI V IV III II I
1/2
9 F (Fá Maior) 1/2  1/2
        
      
 
C (Dó Maior) 1/2
17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
      
         
G (Sol Maior) 1/2
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
     
I II III IV V VI VII VIII VII VI V IV III II I
1/2
33 D (Ré Maior) 1/2 1/2
       
          
A (Lá Maior) 1/2
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
           
     
I II III IV V VI VII VIII VII VI V IV III II I
1/2
49 E (Mi Maior) Enharmonic
1/2 Fb 1/2
       
          

B (Sí Maior) Enharmonic Cb 1/2
57 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
            
       
F# (Fá sustenido Maior) Enharmonica Gb 1/2
65 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
      
            
I II III IV V VI VII VIII VII VI V IV III II I
1/2
73 Db (Ré bemol Maior)-Enharmonica
1/2 -C# 1/2
                
   

Ab (Lá bemol Maior) 1/2
81 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
         
         
I II III IV V VI VII VIII VII VI V IV III II I
1/2
89 Eb (Mí bemol Maior) 1/2 1/2
      
         
 
Bb (Sí bemol Maior) 1/2
I II III 1/2 IV V VI VII IV 1/2 III
97
    VIII
 VII

VI

V

II I

        

Copyright © Orquestra de Sopros de Jales


Círculo das Quintas
Edivaldo de Paula
Flute for Concert Band-Séries Estudos Coletivos OMB-47.345
Maestoso q = 70
Bb (Sí bemol Maior) Concert
I II III IV V VI VII VIII VII VI V IV III II I

   
1/2

    
1/2 1/2
      
     
F (Fá Maior) 1/2


III 1/2 IV IV 1/2 III
 
9 I II V VI VII VIII VII VI V II I
   
         
I II III IV V VI VII VIII VII VI V IV III II I

   
1/2

      
C (Dó Maior) 1/2 1/2
 
17
 
  
G (Sol Maior) 1/2

    
III 1/2 IV IV 1/2 III
 
25 I II V VI VII VIII VII VI V II I

       
  
I II III IV V VI VII VIII VII VI V IV III II I

     
1/2

        
33 D (Ré Maior) 1/2 1/2
  

I II III IV V VI VII VIII VII VI V IV III II I
1/2

       


A (Lá Maior) 1/2 1/2

41

     
  
E (Mi Maior) Enharmonic Fb 1/2

  
III 1/2 IV IV 1/2 III

49 I II V VI VII VIII VII VI V II I
  
            
I II III IV V VI VII VIII VII VI V IV III II I


1/2

            


B (Sí Maior) Enharmonic
1/2 Cb 1/2
 
57
   
  
F# (Fá sustenido Maior) Enharmonica Gb 1/2

    
III 1/2 IV IV 1/2 III
  
65 I II V VI VII VIII VII VI V II I

             
Db (Ré bemol Maior)-Enharmonica -C#
I II III IV V VI VII VIII VII VI V IV III II I

       
1/2

      
1/2 1/2
  
73

    
I II III IV V VI VII VIII VII VI V IV III II I
1/2

     
Ab (Lá bemol Maior) 1/2 1/2
     
81

         
I II III IV V VI VII VIII VII VI V IV III II I

    
1/2
Eb (Mí bemol Maior) 1/2
      1/2
 
   
89

 
I II III IV V VI VII VIII VII VI V IV III II I


1/2

     
Bb (Sí bemol Maior) 1/2 1/2
  
97

       
Copyright © Orquestra de Sopros de Jales
Edivaldo de Paula
Horn in F Círculo das Quintas OMB-47.345
Maestoso q = 70 for Concert Band-Séries Estudos Coletivos
Bb (Sí bemol Maior) Concert 1/2


III 1/2 IV IV 1/2 III
 
I II V VI VII VIII VII VI V II I
    
          
F (Fá Maior) 1/2


9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

          
    
C (Dó Maior) 1/2

    
III 1/2 IV IV 1/2 III
 
17 I II V VI VII VIII VII VI V II I

          
G (Sol Maior) 1/2

 
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
D (Ré Maior) 1/2

 
33 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
A (Lá Maior) 1/2

  
III 1/2 IV IV 1/2 III
 
41 I II V VI VII VIII VII VI V II I
 
            
E (Mi Maior) Enharmonic Fb 1/2

  
49 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

                
  
B (Sí Maior) Enharmonic Cb 1/2

   
III 1/2 IV IV 1/2 III
  
57 I II V VI VII VIII VII VI V II I

         
  
F# (Fá sustenido Maior) Enharmonica Gb 1/2
III 1/2 IV IV 1/2 III
 
65 I II V VI VII VIII VII VI V II I

           
      
Db (Ré bemol Maior)-Enharmonica -C# 1/2
III 1/2 IV IV 1/2 III
 
73 I II V VI VII VIII VII VI V II I

             
   
Ab (Lá bemol Maior) 1/2
III 1/2 IV IV 1/2 III
  
81 I II V VI VII VIII VII VI V II I
   
            
Eb (Mí bemol Maior) 1/2
III 1/2 IV IV 1/2 III

89 I II V VI VII VIII VII VI V II I

           

   
Bb (Sí bemol Maior) 1/2


III 1/2 IV IV 1/2 III
 
97 I II V VI VII VIII VII VI V II I

            
Copyright © Orquestra de Sopros de Jales
Círculo das Quintas
for Concert Band-Séries Estudos Coletivos Edivaldo de Paula
OMB-47.345
Oboe
Maestoso q = 70
Bb (Sí bemol Maior) Concert
I II III IV V VI VII VIII VII VI V IV III II I

   
1/2

    
1/2 1/2
      
     
F (Fá Maior) 1/2


III 1/2 IV IV 1/2 III
 
9 I II V VI VII VIII VII VI V II I
   
         
C (Dó Maior) 1/2


17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

       
       
G (Sol Maior) 1/2

    
III 1/2 IV IV 1/2 III
 
25 I II V VI VII VIII VII VI V II I

          
D (Ré Maior)
1/2

 
33 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

              
I II III IV V VI VII VIII VII VI V IV III II I
1/2

       
A (Lá Maior) 1/2 1/2

41
 
      
E (Mi Maior) Enharmonic Fb 1/2

 
III 1/2 IV IV 1/2 III

49 I II V VI VII VIII VII VI V II I

               
I II III IV V VI VII VIII VII VI V IV III II I


1/2

          


B (Sí Maior) Enharmonic
1/2 Cb 1/2
 
57

        
F# (Fá sustenido Maior) Enharmonica Gb 1/2

    
III 1/2 IV IV 1/2 III
  
65 I II V VI VII VIII VII VI V II I

         
  
Db (Ré bemol Maior)-Enharmonica -C# 1/2
III 1/2 IV IV 1/2 III
 
73 I II V VI VII VIII VII VI V II I

               
  
I II III IV V VI VII VIII VII VI V IV III II I
1/2

     
Ab (Lá bemol Maior) 1/2 1/2
     
81

         
Eb (Mí bemol Maior) 1/2
III 1/2 IV IV 1/2 III
  
89 I II V VI VII VIII VII VI V II I

             
  
I II III IV V VI VII VIII VII VI V IV III II I


1/2

     
Bb (Sí bemol Maior) 1/2 1/2
  
97

       
Copyright © Orquestra de Sopros de Jales
Círculo das Quintas
Percussion 1 for Concert Band-Séries Estudos Coletivos Edivaldo de Paula
OMB-47.345
Maestoso q = 70

Bb (Sí bemol Maior) Concert


R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L

                                                 
F (Fá Maior)
7 R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L
      
                                       

12 R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L
       
                                    
   

C (Dó Maior)
R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L
17 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

                                                
R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L
21 3 3 3 3 3 3 3 3 3 3 3 3
                                       

             
G (Sol Maior)
RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL RLL
25 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
               
 

                              
              
R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L
29 3 3 3 3 3 3 3 3 3 3 3 3
               
                                        
           

D (Ré Maior)
L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R
33 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

                                                
L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R L R R
37 3 3 3 3 3 3 3 3 3 3 3 3

                                           
A (Lá Maior)
LRR LRR LRR LRR LRR LRR LRR LRR LRR LRR LRR LRR LRR LRR LRR LRR
41 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
               
 

               
 

   

   

   


          

L R R L R R L RR L RR L RR L RR L R R L R R L RR L R R L R R L RR
45 3 3 3 3 3 3 3 3 3 3 3 3
            
                                                      

E (Mi Maior) Enharmonic Fb


49 RL RR L RLLRLRR L R LL RLRR L R LLRLRR L R LL RL RR L R LLRLRR L RLL RL RR L RLLRLRR L R LL

        


                               

53 RL R R L R LL RL RR L R LL RL R R L R LL RL R R L R LL RL RR L R LL RL RR L R LL

       


                           
V.S.
Copyright © Orquestra de Sopros de Jales
2 Percussion 1
B (Sí Maior) Enharmonic Cb
57 RL RR L RLLRLRR L R LL RLRR L R LLRLRR L R LL RL RR L R LLRLRR L RLL RL RR L RLLRLRR L R LL

        


                               

61 RL RR L R LL RL RR L R LL RL RR L R LL RL RR L R LL RL RR L R LL RL RR L R LL

                                                 

F# (Fá sustenido Maior) Enharmonica Gb


65 R L R RL R L L R L R RL R L L R L RR LRL L R L RR L R L L R L RR L R L L R L RR L RL L R L RR L R L L

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Db (Ré bemol Maior)-Enharmonica -C#


73 R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L
   
        
         
 
        
 
        
 

77 R L R R L R L L R L R R L R L L R L R R L R L L

        


         
            
    

Ab (Lá bemol Maior)


R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L
81 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

                                                

R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L
85 3 3 3 3 3 3 3 3 3 3 3 3
   
                                        

Eb (Mí bemol Maior)


RL L RLL RL L RLL RLL RL L RLL RL L RLL RLL RLL RLL RLL RLL RLL RLL
89 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
               
 

                 

 

   

    

   
           

R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L R L L
93 3 3 3 3 3 3 3 3 3 3 3 3
              
                                        
           

Bb (Sí bemol Maior)


97 RL RR L RLLRLRR L R LL RLRR L R LLRLRR L R LL RL RR L R LLRLRR L RLL RL RR L RLLRLRR L R LL

        


                               

101 RL R R L R LL RL R R L R LL RL R R L R L L RL R R L R L L R L R R L R L L RL R R L R L L

                                                 


Círculo das Quintas
Piccolo for Concert Band-Séries Estudos Coletivos Edivaldo de Paula
OMB-47.345
Maestoso q = 70
Bb (Sí bemol Maior) Concert
I II III IV V VI VII VIII VII VI V IV III II I

   
1/2

     
1/2 1/2
     
     
I II III IV V VI VII VIII VII VI V IV III II I

     
1/2


9 F (Fá Maior)
  
1/2
   1/2
  
 
I II III IV V VI VII VIII VII VI V IV III II I

   
1/2

      
17 C (Dó Maior) 1/2 1/2
   
  
G (Sol Maior) 1/2

    
III 1/2 IV IV 1/2 III
 
25 I II V VI VII VIII VII VI V II I

       
  
I II III IV V VI VII VIII VII VI V IV III II I

     
1/2

       
33 D (Ré Maior) 1/2 1/2
 
 
I II III IV V VI VII VIII VII VI V IV III II I
1/2

       


A (Lá Maior) 1/2 1/2

41

        
I II III IV V VI VII VIII VII VI V IV III II I

      
1/2

          
E (Mi Maior) Enharmonic
1/2 Fb 1/2

49

 
I II III IV V VI VII VIII VII VI V IV III II I


1/2

          
B (Sí Maior) Enharmonic
1/2 Cb 1/2
 
57

         
I II III IV V VI VII VIII VII VI V IV III II I

       
1/2
 
F# (Fá sustenido Maior) Enharmonica Gb

        
1/2 1/2


65

 
II III I IV V VI VII VIII VII VI V IV III II I

       
1/2
73 Db (Ré bemol Maior)-Enharmonica
    
-C#
 
1/2 1/2
  
   

I II III IV V VI VII VIII VII VI V IV III II I
1/2

     
Ab (Lá bemol Maior) 1/2 1/2
    
81

         
I II III IV V VI VII VIII VII VI V IV III II I

    
1/2
Eb (Mí bemol Maior) 1/2
      1/2
 
   
89

 
I II III IV V VI VII VIII VII VI V IV III II I


1/2

     
Bb (Sí bemol Maior) 1/2 1/2
  
97

       
Copyright © Orquestra de Sopros de Jales
Edivaldo de Paula
Tenor Saxophone Círculo das Quintas OMB-47.345
Maestoso q = 70 for Concert Band-Séries Estudos Coletivos
Bb (Sí bemol Maior) Concert 1/2


I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
     
          
F (Fá Maior) 1/2

    
III 1/2 IV IV 1/2 III
 
9 I II V VI VII VIII VII VI V II I

       
  
C (Dó Maior) 1/2

 
17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
I II III IV V VI VII VIII VII VI V IV III II I
1/2

      


G (Sol Maior) 1/2 1/2
 
25

        
D (Ré Maior) 1/2

  
III 1/2 IV IV 1/2 III

33 I II V VI VII VIII VII VI V II I
 
             
I II III IV V VI VII VIII VII VI V IV III II I


1/2

           
A (Lá Maior) 1/2 1/2
 
41
 
     
E (Mi Maior) Enharmonic Fb 1/2

  
III 1/2 IV IV 1/2 III
   
49 I II V VI VII VIII VII VI V II I

             
B (Sí Maior) Enharmonic Cb 1/2
III 1/2 IV IV 1/2 III
 
57 I II V VI VII VIII VII VI V II I

                 
I II III IV V VI VII VIII VII VI V IV III II I
1/2

     
F# (Fá sustenido Maior)
1/2 Enharmonica Gb 1/2
     
65
   
     
Db (Ré bemol Maior)-Enharmonica -C# 1/2
III 1/2 IV IV 1/2 III
  
73 I II V VI VII VIII VII VI V II I
   
            
I II III IV V VI VII VIII VII VI V IV III II I


1/2

      
Ab (Lá bemol Maior) 1/2 1/2
  
81
   
    
Eb (Mí bemol Maior) 1/2


III 1/2 IV IV 1/2 III
 
89 I II V VI VII VIII VII VI V II I

             

I II III IV V VI VII VIII VII VI V IV III II I

  
1/2

     
97 Bb (Sí bemol Maior) 1/2 1/2
   
  

Copyright © Orquestra de Sopros de Jales


Edivaldo de Paula
Timpani Círculo das Quintas OMB-47.345
Maestoso q = 70 for Concert Band-Séries Estudos Coletivos
Bb (Sí bemol Maior) Concert 1/2
I II III 1/2 IV V VI VII IV 1/2 III
    VIII
 VII

VI

V

II

I

         
F (Fá Maior) 1/2
9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
        
I II III IV V VI VII VIII VII VI V
V IV III II I
1/2
17 C (Dó Maior) 1/2 1/2
     
     

    
 
I II III IV V VI VII VIII VII VI V IV III II I
1/2
25 G (Sol Maior) 1/2 1/2
            
    
I II III IV V VI VII VIII VII VI V IV III II I
1/2
33 D (Ré Maior) 1/2 1/2
            

  
 

A (Lá Maior) 1/2
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
        
 
E (Mi Maior) Enharmonic Fb 1/2
49 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
        
B (Sí Maior) Enharmonic Cb 1/2
57 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
      
F# (Fá sustenido Maior) Enharmonica Gb 1/2
65 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
        
I II III IV V VI VII VIII VII VI V IV III II I
1/2
73 Db (Ré bemol Maior)-Enharmonica
1/2 -C# 1/2
      
         
 
Ab (Lá bemol Maior) 1/2
81 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
      
I II III IV V VI VII VIII VII VI V IV III II I
1/2
89 Eb (Mí bemol Maior) 1/2 1/2
         
   
  
  

Bb (Sí bemol Maior) 1/2
97 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
           
     
Copyright © Orquestra de Sopros de Jales
Edivaldo de Paula
Trombone Círculo das Quintas OMB-47.345
Maestoso q = 70 for Concert Band-Séries Estudos Coletivos
Bb (Sí bemol Maior) Concert 1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
          
I II III IV V VI VII VIII VII VI V IV III II I
1/2
9 F (Fá Maior) 1/2  1/2
        
      
 
I II III IV V VI VII VIII VII VI V IV III II I
1/2
17 C (Dó Maior) 1/2 1/2
      
         

G (Sol Maior) 1/2


25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
     
I II III IV V VI VII VIII VII VI V IV III II I
1/2
33 D (Ré Maior) 1/2 1/2
       
         

A (Lá Maior) 1/2


41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
     
I II III IV V VI VII VIII VII VI V IV III II I
1/2
1/2Fb
49 E (Mi Maior) Enharmonic 1/2
       
         

B (Sí Maior) Enharmonic Cb 1/2
57 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
             
     
F# (Fá sustenido Maior) Enharmonica Gb 1/2
65 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
     
            
I II III IV V VI VII VIII VII VI V IV III II I
1/2
73 Db (Ré bemol Maior)-Enharmonica
1/2 -C# 1/2
                   
  
Ab (Lá bemol Maior) 1/2
81 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
         
I II III IV V VI VII VIII VII VI V IV III II I
1/2
89 Eb (Mí bemol Maior) 1/2 1/2
          
      

Bb (Sí bemol Maior) 1/2
97 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
           
    
Copyright © Orquestra de Sopros de Jales
Círculo das Quintas
Edivaldo de Paula
Trumpet in Bb for Concert Band-Séries Estudos Coletivos OMB-47.345
Maestoso q = 70

Bb (Sí bemol Maior) Concert 1/2


I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
     
          
F (Fá Maior) 1/2

 
9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
C (Dó Maior) 1/2

 
17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
G (Sol Maior) 1/2

 
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

       
       
D (Ré Maior) 1/2

  
III 1/2 IV IV 1/2 III

33 I II V VI VII VIII VII VI V II I
  
            
A (Lá Maior) 1/2

   
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

              

  
E (Mi Maior) Enharmonic Fb 1/2

  
III 1/2 IV IV 1/2 III
   
49 I II V VI VII VIII VII VI V II I

             
B (Sí Maior) Enharmonic Cb 1/2
III 1/2 IV IV 1/2 III
 
57 I II V VI VII VIII VII VI V II I

                  
F# (Fá sustenido Maior) Enharmonica Gb 1/2
III 1/2 IV IV 1/2 III
 
65 I II V VI VII VIII VII VI V II I

          
      
Db (Ré bemol Maior)-Enharmonica -C# 1/2
III 1/2 IV IV 1/2 III
  
73 I II V VI VII VIII VII VI V II I
   
            
Ab (Lá bemol Maior) 1/2
III 1/2 IV IV 1/2 III

81 I II V VI VII VIII VII VI V II I

             

 
Eb (Mí bemol Maior) 1/2


III 1/2 IV IV 1/2 III
 
89 I II V VI VII VIII VII VI V II I

            

Bb (Sí bemol Maior) 1/2
97 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

       
       
Copyright © Orquestra de Sopros de Jales
Edivaldo de Paula
Tuba Círculo das Quintas OMB-47.345
Maestoso q = 70 for Concert Band-Séries Estudos Coletivos
Bb (Sí bemol Maior) Concert 1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
 
         
      
F (Fá Maior) 1/2
9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
       
        
C (Dó Maior) 1/2
17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
  
         
   
G (Sol Maior) 1/2
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
 
      
 D (RéMaior)     
1/2
33 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
    
         
 
A (Lá Maior) 1/2
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
 
      
       
E (Mi Maior) Enharmonic Fb 1/2
49 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
     
           
B (Sí Maior) Enharmonic Cb 1/2
57 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
  
          
     
F# (Fá sustenido Maior) Enharmonica Gb 1/2
65 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
 
      
          
Db (Ré bemol Maior)-Enharmonica -C# 1/2
73 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
       
            
Ab (Lá bemol Maior) 1/2
81 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
   
        
      
Eb (Mí bemol Maior) 1/2
89 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
         
       
Bb (Sí bemol Maior) 1/2
97 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
  
         
   
Copyright © Orquestra de Sopros de Jales
Círculo das Quintas
Viola opc.
for Concert Band-Séries Estudos Coletivos

Edivaldo de Paula
Maestoso q = 70 OMB-47.345
Bb (Sí bemol Maior) Concert
I II III IV V VI VII VIII VII VI V IV III II I
1/2
1/2 1/2
      
           
F (Fá Maior) 1/2
9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
     
C (Dó Maior) 1/2
17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
    
         
 
G (Sol Maior) 1/2
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
     
D (Ré Maior) 1/2
33 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
     
       
   
A (Lá Maior) 1/2
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

               


E (Mi Maior) Enharmonic Fb 1/2


49 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
              


 
I II III IV V VI VII VIII VII VI V IV III II I
1/2
57 B (Sí Maior) Enharmonic
1/2Cb 1/2
   
              

F# (Fá sustenido Maior) Enharmonica Gb
1/2
65 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
                 
Db (Ré bemol Maior)-Enharmonica -C# 1/2
73 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
           
     
Ab (Lá bemol Maior) 1/2
I II III 1/2 IV V VI VII IV 1/2 III
81
  VIII
 VII

VI

V II I
            
Eb (Mí bemol Maior) 1/2
89 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
             
   
Bb (Sí bemol Maior)
1/2
97 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
      
         

Copyright © Orquestra de Sopros de Jales


Círculo das Quintas
Violin 1 opc.
for Concert Band-Séries Estudos Coletivos

Edivaldo de Paula
Maestoso q = 70 OMB-47.345
Bb (Sí bemol Maior) Concert
I II III IV V VI VII VIII VII VI V IV III II I


1/2

      
1/2 1/2
      
     
F (Fá Maior) 1/2


III 1/2 IV IV 1/2 III
 
9 I II V VI VII VIII VII VI V II I
   
         

   
I VII 1/2 VIII
 
II III 1/2 IV V VI VII VI V IV 1/2 III II I
17 C (Dó Maior)
        
  
G (Sol Maior) 1/2


III 1/2 IV
    
IV 1/2 III

25 I II V VI VII VIII VII VI V II I

       
  
I II III IV V VI VII VIII VII VI V IV III II I

     
1/2

        
33 D (Ré Maior) 1/2 1/2
  

I II III IV V VI VII VIII VII VI V IV III II I
1/2

      
A (Lá Maior) 1/2 1/2
 
41

        
E (Mi Maior) Enharmonic Fb 1/2

  
III 1/2 IV IV 1/2 III

49 I II V VI VII VIII VII VI V II I

           
   
I II III IV V VI VII VIII VII VI V IV III II I


1/2

            


B (Sí Maior) Enharmonic1/2
Cb 1/2
 
57

      
F# (Fá sustenido Maior) Enharmonica Gb 1/2

   
III 1/2 IV IV 1/2 III
  
65 I II V VI VII VIII VII VI V II I
 
            
I II III IV V VI VII VIII VII VI V IV III II I

     
1/2
   
Db (Ré bemol Maior)-Enharmonica -C#
 
1/2 1/2
   
73

    
I II III IV V VI VII VIII VII VI V IV III II I
1/2

    
Ab (Lá bemol Maior) 1/2 1/2
   
81

          
I II III IV V VI VII VIII VII VI V IV III II I

    
1/2
Eb (Mí bemol Maior) 1/2
     
1/2
 
   
89

 
Bb (Sí bemol Maior)


VII 1/2 VIII
 
I
 
II III 1/2 IV V VI VII VI V IV 1/2 III II I
    
97

       

Copyright © Orquestra de Sopros de Jales


Violin 2 opc. Círculo das Quintas
for Concert Band-Séries Estudos Coletivos

Edivaldo de Paula
OMB-47.345
Maestoso q = 70
Bb (Sí bemol Maior) Concert 1/2
III 1/2 IV IV 1/2 III

I II V VI VII VIII VII VI V II I

            

   
F (Fá Maior) 1/2


III 1/2 IV IV 1/2 III
 
9 I II V VI VII VIII VII VI V II I
   
         
C (Dó Maior) 1/2


17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

        
      
G (Sol Maior) 1/2

 
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
D (Ré Maior) 1/2

 
33 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

              
A (Lá Maior) 1/2

 
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
     
E (Mi Maior) Enharmonic Fb 1/2

  
III 1/2 IV IV 1/2 III

49 I II V VI VII VIII VII VI V II I

           
   
B (Sí Maior) Enharmonic Cb 1/2

  
57 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I

         
        
F# (Fá sustenido Maior) Enharmonica Gb 1/2

   
III 1/2 IV IV 1/2 III
  
65 I II V VI VII VIII VII VI V II I
 
            
Db (Ré bemol Maior)-Enharmonica -C# 1/2
III 1/2 IV IV 1/2 III
 
73 I II V VI VII VIII VII VI V II I

                 
Ab (Lá bemol Maior) 1/2
III 1/2 IV IV 1/2 III
 
81 I II V VI VII VIII VII VI V II I

             
   
Eb (Mí bemol Maior) 1/2
III 1/2 IV IV 1/2 III
  
89 I II V VI VII VIII VII VI V II I

             
  
Bb (Sí bemol Maior) 1/2
III 1/2 IV IV 1/2 III

97 I II V VI VII VIII VII VI V II I

             
 
Copyright © Orquestra de Sopros de Jales
Violoncello opc.
Círculo das Quintas
for Concert Band-Séries Estudos Coletivos
Edivaldo de Paula
OMB-47.345
Bb (Sí bemol Maior) Concert
Maestoso q = 70 1/2
I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
            
      
F (Fá Maior) 1/2
9 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
       
        
C (Dó Maior) 1/2
17 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
    
         
 
G (Sol Maior) 1/2
25 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
     
D (Ré Maior) 1/2
33 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
    
         
 
A (Lá Maior) 1/2
41 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
          
     
E (Mi Maior) Enharmonic Fb 1/2
49 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
        
B (Sí Maior) Enharmonic Cb 1/2
57 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
             
     
F# (Fá sustenido Maior) Enharmonica Gb 1/2
65 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
    
             
Db (Ré bemol Maior)-Enharmonica -C# 1/2
73 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
        
        
 
Ab (Lá bemol Maior) 1/2
81 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
         
         
Eb (Mí bemol Maior) 1/2
89 I II III 1/2 IV V VI VII VIII VII VI V IV 1/2 III II I
         
       
Bb (Sí bemol Maior) 1/2
I II III 1/2 IV V VI VII 1/2 III
97
       VIII
 VII

VI

V

IV

II I

    

Copyright © Orquestra de Sopros de Jales

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