2 Suite Nordestina Full Score

BRAZILIAN MUSIC FOR BAND SERIES
SUÍTE
NORDESTINA
musyc by
JOSÉ URSICINO DA SILVA

(MESTRE DUDA)
Patrocínio Realização
capa Suite Nordestina.indd 2-3 5/5/08 9:57:40 PM

PRESIDENT OF THE FEDERATIVE REPUBLIC OF BRAZIL
Luiz Inácio Lula da Silva
MINISTER OF CULTURE
Juca Ferreira
FUNDAÇÃO NACIONAL DE ARTES / FUNARTE
PRESIDENT
Sérgio Mamberti
EXECUTIVE DIRETOR
Myriam Lewin
DIRECTOR OF THE MUSIC CENTER

Pedro Müller
PROJECT COORDINATION BANDS

Rosana G. Lemos
COMMUNICATION COORDINATION
Oswaldo Carvalho
COORDINATION ISSUES
Maristela Rangel
© FUNARTE, 2008
IMPRESSO NO BRASIL / PRINTED IN BRAZIL
FUNARTE EDITIONS
BRAZILIAN MUSIC FOR BAND SERIES
SUÍTE
NORDESTINA
I. Lento e Baião
II. Serenata
III. Maracatu
IV. Frevo
music by
José Ursicino da Silva
(Mestre Duda)
revised and edited by

Marcelo Jardim
SCORES FOR BAND – PUBLISHING PROJECT
G ENERAL DIRECTION
FLAVIO SILVA / MARIA JOSÉ DE QUEIROZ FERREIRA
T ECHNICAL DIRECTION , ADAPTATION, REVISION AND STANDARDIZATION

Marcelo Jardim
MUSIC PUBLISHING
Si Thoca Edições Musicais
www.sithoca.com
Simone dos Santos
P ROGRAM NOTES
Marcos Vinício Nogueira
CONSULTING – TABLE INDICATING T ECHNICAL LEVEL

Dario Sotelo
CONSULTING – FLEXIBLE INSTRUMENTATION /ARRANGEMENTS

Hudson Nogueira
E LECTRONIC EDITING – SCORE AND INSTRUMENTAL P ARTS

Alexandre Castro – Sheila Mara –
Leandro J. Campos – Bruno Alencar
E NGLISH TEXTS
Tom Moore
T EXT E DITING AND REVISION

Maurette Brandt
G RAPHIC P RODUCTION
João Carlos Guimarães
E DITORIAL PRODUCTION
Renata Arouca
COVER AND ILLUSTRATION

Rafael Torres
Fundação Nacional de Artes – Funarte

Music Center (Cemus)
Rua da Imprensa 16, 13th Floor
Rio de Janeiro, RJ − Brasil
CEP 20.030-120
Tel.: (21) 2279-8106 - Fax: (21) 2279-8088
coordenacaobandas@funarte.gov.br
www.funarte.gov.br
BAND REPERTOIRE OF YESTERDAY, TODAY, AND OF ALL TIME
A The opportunity of resuming the process of publishing scores for band is a good rea-
son for rejoicing at Funarte. In 1995 and in 2000, 14 titles from the series “Golden
Repertoire of Brazilian Bands” were released; in 2004, Funarte released the series “Hymns of
Brazil”, with two titles. Presently 20 new titles are being issued, ten of which in a new series called
“Brazilian Music for Band”, which includes high level arrangements of popular songs and some
of the most praised classics of Brazilian popular music. The new series also highlights original
works written specifically for bands by composers of various periods, and opens space for tran-
scriptions from the Brazilian symphonic repertoire.
These issues follow the international norms for publishing and the standardization of music
pieces for symphonic band, diversifying the supply of instrumental parts without losing sight of
the most noteworthy characteristics of our bands, as well as making possible for small groups and
bands, with reduced forces, to perform music using the same material. The process of publish-
ing scores for band is searching for more dynamic ways to supply a market which is always eager
for novelties and information – and seeking, at the same time, to keep the traditions of our coun-
try’s musical culture alive and in performance. Making this repertoire available and sharing infor-
mation must be an ongoing and continuous task, so that it can produce good results. To this end,
Funarte concentrates its efforts to produce and present the band repertoire of yesterday, today,
and of all times.
III Brazilian Music for Band Series — Suíte Nordestina

ABOUT THE NEW EDITIONS...
W ith its new series of editions, Funarte intends to expand the contemporary literature for bands in
Brazil, so as to quantify it and qualify it, with especial emphasis on the use of the technical and sty-
listic patterns of each work, with the necessary revisions and annotations in terms of articulations, dynamics,
accents, nomenclature, tempi, rehearsal markings, abbreviations etc.
In order to allow that standards adopted by bands worldwide be applied, it was necessary to
make adaptations to the original material - without, however, altering melodic, harmonic, and
rhythmic lines. Original orchestrations were maintained, with the addition of new information in
the area of timbre, in order to take the most advantage of present-day instruments.
The standard pattern adopted was: piccolo, flute, oboe, bassoon, Eb clarinet (requinta), Bb
clarinets (3 parts), Bb bass clarinet, quartet of saxophones (2 Eb altos, 1 or 2 Bb tenors, and Eb
baritone), F horns (2 to 4 parts), Bb trumpets (3 parts), trombones (3 parts), baritone, tuba, con-
trabass (strings), timpani, keyboards (xylophone/bells or glockenspiel), percussion (snare drum,
pratos de choque, suspended cymbals, bass drum, agogô, rattle, tambourine, ganzá, triangle, reco-
reco, tambor, complete battery). In some works, particular instruments were suppressed, such as
tenor sax 2 and timpani, when they were not part of the original instrumentation. Nevertheless,
the director should note that the whole repertoire has its functionality guaranteed only with 1
flute, 1 Eb clarinet, 3 Bb clarinets, 1 Eb alto sax, 1 Bb tenor sax, 3 F horns or Eb saxhorns, 3 Bb
trumpets, 3 trombones, 1 baritone, 1 tuba, and percussion (snare, cymbal and bass drum). Extra
parts (not included in the instrumentation) will be printed for Eb saxhorns, Bb baritone in bass
clef, as well as Bb and Eb tubas, in all the editions.
Brazilian Music Series for Band
T he repertoire of this series emphasizes arrangements of MPB and original compositions.

Optional instruments, originally intended by the composer or arranger, are included in the
score’s instrumentation, but are not essential to the performance of the piece. It was sought to retain
such instruments as options, thus allowing the performance of a particular musical passage in more
than one way, so as to make possible its performance by symphonic and concert bands – and also
to enhance its performance by traditional bands. To this end, indications of other instruments allow
the conductor to have a mass of sound for performances in the open air, while maintaining an equi-
librium of sound in concerts taking place in closed spaces.
Maestro Marcelo Jardim

Technical Coordinator
Brazilian Music for Band Series — Suíte Nordestina IV

SUÍTE NORDESTINA
music by José Ursicino da Silva
revised and edited by Marcelo Jardim
Instrumentation
*piccolo horn 1
flute horn 2
*oboe horn 3
*bassoon Bb trumpet 1
*Eb clarinet Bb trumpet 2
Bb clarinet 1 Bb trumpet 3
Bb clarinet 2 trombone 1
Bb clarinet 3 trombone 2
* bass clarinet trombone 3
Eb sax alto 1 BC baritone
Eb sax alto 2 tuba
Bb sax tenor 1 percussion 1 (snare drum /drum set)
Bb sax tenor 2 percussion 2 (cymbals and bass drum)
Eb sax baritone percussion 3 (triangle, ganzá)
Extra Parts
Eb sax horn 1 BB Baritone TC
Eb sax horn 2 Bb tuba
Eb sax horn 3 Eb tuba
Note to the Director

All the parts marked with * are optional; they are not, therefore, essential to the performance
of the work. Such parts were added in accordance with the composer’s writing and the func-
tion of these instruments in the band, in order to allow the formatting of the score according
to present-day international standards.
V Brazilian Music for Band Series — Suíte Nordestina

SUÍTE NORDESTINA
music by José Ursicino da Silva
revised and edited by Marcelo Jardim
T he introduction (Lento) presents a diatonic melodic figure which will interconnect all the
sections of the work, giving it unity and compensating for the formal disassociation
caused by the variety of characteristic genres presented. It is a simple melody without syncopa-
tions, thus being differentiated from the rhythmic character of the other sections. The little chro-
matic melodic cells in the accompaniment also stand out while the melody rests in long notes. The
first characteristic section (Baião) begins in a striking way, with a brief presentation of the typical
rhythmic cell, and of the ascending thirds, normal for the genres, and already hinted at in the
introduction. The articulations indicated by types of attack and accentuations are essential in
order to obtain the desired stylistic effect. The closing of the Baião (second ending) and the inter-
lude (Pesante) which follows take on once more the character of the introduction, thus making the
connection with the simplicity of the Serenata, which brings back the melodic expression of the
introduction. The entire passage is marked by the expressive use of fermatas, which clarify the for-
mal division and the separation of contrasting material – thus, an effect contrary to that proposed
in the brusque passages from the introduction to the Baião and from the Maracatu to the Frevo.
The Maracatu is introduced by a tutti simulation of the group of percussion which originated this
genre from Pernambuco: brass, flutes, and E-flat clarinet represent alfaias (large drums), while
clarinets and saxophones are the voices of the tarols and the snares. The melody of the Maracatu
presents a new variation on the arpeggiated motive which we have heard since the introduction and
which also will be the base for the construction of the final genre visited: the Frevo. Here, the
author returns to the initial tonality and develops the theme in a textural play traditional to the
genre: the first phrase tutti, followed by a phrase given to the reeds alone (clarinets and saxo-
phones); next a dialogue between the brasses (doubled by flutes and E-flat clarinet) and the
ensemble of reeds – which must be carefully performed – which is then given, once more to only
the last group. A second section of the Frevo broadens this dialogue and leads the work to its coda,
realized with the re-exposition of the initial phrase of the introduction.
Marcos Vinício Nogueira

Professor of Harmony and Composition,
Universidade Federal do Rio de Janeiro’s School of Music
Brazilian Music for Band Series — Suíte Nordestina VI

JOSÉ URSICINO DA SILVA (MESTRE DUDA)
J osé Ursicino da Silva, known as Mestre Duda, got his start in music at eight years of age,
and composed his first frevo, "Furacão" [Hurricane], at age twelve. He worked as musician in
countless big bands, and also worked in the music departments of various radio and television sta-
tions, both in Recife and in São Paulo, as director and arranger.In 1961 he wrote music for the
play "Um americano no Recife" [An American in Recife], directed by Graça Melo. He also wrote
music for works directed by Lúcio Mauro and Wilson Valença. He became a member of the
Orquestra Sinfônica do Recife, where he played oboe and English horn. In 1963 he created a
dance orchestra, and in 1967, signed a contract with TV Bandeirantes, in São Paulo. In 1970 he
returned to Recife and to the Orquestra Sinfônica, coming to work as well as professor and
arranger at the Conservatório Pernambucano de Música. In 1971 he won first place in the Festival
of Frevo promoted by Tupi Television Networking, with the frevo de rua Quinho. In the same
year he organized an orchestra for Carnaval balls, which received the prize for Best Orchestra of
the Year for various years in a row. In 1975 he recorded a disc in homage to the Jornal Diário
Pernambucano, released on the Rozenblit label. He had frevos recorded by the Severino Araújo
Orchestra, as well as sambas recorded by Jamelão and other performers. In 1980 he was chosen
as arranger for the Festival MPB-Shell, promoted by Rede Globo. In 1982, his composition Suíte
Nordestina was chosen to open the festivities of the Semana da Pátria, broadcast throughout Brazil
by TVE. In 1985, his orchestra represented Brazil in the Feira das Nações in Miami, Flórida. In
1988 he performed the Música para Metais Nº 2, with the participation of American trumpeter
Charles Schlueter, of the Boston Symphony Orchestra, in commemoration of the 138 years of
the Teatro Santa Isabel, in Recife. His music has been recorded outside Brazil, and is present on
more than 100 discs. On various occasions he was elected the best arranger in the Northeast. He
is director, arranger and instrumentalist for the Orquestra Paraibana de Música Popular. His most
famous work is the symphonic piece Fantasia Carnavalesca, recorded by the Orquestra Sinfônica
do Recife, with the participation of the Coral Ernani Braga. He has gained international recogni-
tion with the musical direction of the opera "Catirina", based on popular plays from the bumba-
meu-boi of the state of Maranhão. He was chosen by the Projeto Memória Brasileira, of the
Secretaria de Cultura of São Paulo, as one of the 12 best arrangers of the century. In 1997 the
Projeto Memória Brasileira issued the CD "Arranjadores", with his arrangement of the
"Bachianas nº 5" of Heitor Villa-Lobos, performed by the Banda Savana.
Principal works
Cidadão frevo, Estação do frevo, Fantasia carnavalesca, Furacão, Homenagem à Princesa Isabel, Marcela, Quinho,
Suíte Nordestina para banda e orquestra, Suíte Pernambucana de Bolso, Música para Metais 1 e 2, Suíte Monete
Bibliography
MARCONDES, Marcos Antônio. (ED). Enciclopédia da Música popular brasileira: erudita, fol-
clórica e popular. 2. ed. São Paulo: Art Editora/Publifolha, 1999
VII Brazilian Music for Band Series — Suíte Nordestina

Suíte Nordestina PARTITURA 6.0.qxd 5/7/08 6:04 AM Page 1
Série Música Brasileira para Banda
Partitura Completa
Duração aproximada: 5'05"
Suite Nordestina
(I. Lento e Baião, II. Serenata, III. Maracatu, IV. Frevo)
Jose Ursicino da Silva (Mestre Duda)
revisão Marcelo Jardim
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triângulo © José Ursicino da Silva
ganzá
© José
Funarte, Ursicino
Ministério da Silva
da Cultura, 2008
MBB0001 - Suite Nordestina - Todos os direitos reservados / Impresso no Brasil
Funarte, Ministério da Cultura, 2008
www.funarte.gov.br / projbandas@funarte.gov.br
MBB0001 - Suite Nordestina - Todos os direitos reservados / Impresso no Brasil
www.funarte.gov.br / projbandas@funarte.gov.br
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FUNARTE — Ministério da Cultura

Série Música Brasileira para Banda —Suíte Nordestina 2
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3 Série Música Brasileira para Banda — Suíte Nordestina
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pt. sus.
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$
bumbo 16 .
Perc. 3 # %" %" %" %" %" %" "& "&
&&triângulo %" %" %" %" %" %" "& "& %" %" %" %" %" %" "& "& %" %" %" %" %" %" "& "&
tgl. - -
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5
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22
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&
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pt. choque 22
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pt. sus.
agogô
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bumbo 22 &
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tgl.
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pt. sus.
agogô
$ )' ) , ' ) #) ) ' ) , ' ) #) ) ' ) , ' ) #) ) ' ) , ' ) )# ) ) )0 , )0 , )' ) ' (
bumbo 28
Perc. 3 $ $" $" $" $" $" $" "% "% $" $" $" $" $" $" "% "% $" $" $" $" $" $" "% "% $" $" $" $" $" $" "% "% $" $" $" $" $" $" "% "% $" $" $" $" $" $" "% "% '' (
tgl.
ganz.

7
2
+ *Lento () = 60) % Pesante () = 54) %

'%% ''$
34
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Perc. 3 # & 3 - # # # -* 3 3 - %-
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ganz.

8
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%
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bat.
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pt. choque 40
pt. sus. # ( ( ( ( ( (
agogô
bumbo 40
Perc. 3 # ( ( ( ( ( (
tgl.
ganz.

9
46
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46
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2, 3 %( )
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) $) + )
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(Fagote, Clarineta Baixo, Sax. Bar.)
- +)
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2, 3
& .
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46
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46
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Cb.
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46
Perc. # ' ' ' ' ' '
bat.
Perc. 2
pt. choque 46
pt. sus. # ' ' ' ' ' '

agogô
bumbo 46
Perc. 3 # ' ' ' ' ' '
tgl.
ganz.

10
Maracatu (/ = 92) "Homenagem à Princesa Isabel"
$
54 1( 1( & 1( & 1( & ! 1( 1( & ! 1( & 1( &
'& () +
52
!! % "! 0 2 % 0 % 0 % 0 0 2 % 0 % 0 % 0
Pic.
.
$ 1( 1( & 1( & 1( & ! 1( 1( & ! 1( & 1( &
'& +
52
!! ( % "! 0 2 % 0 % 0 % 0 0 2 % 0 % 0 % 0
Fl.
.
'& $
+ 1 1 1 1
! )(& ( ! ( (& ( ! ( ! (& ( ( &
52
!! ( % "! 2 % (& ( ( (& ( ( (& ( ( & 2&

Ob. & . 1 1
" ! %' $ 1
!( !( % "! 2 % (& ( ( (& ( 1( (& ( 1( & 2& ! (& & ( ! ( (& ( ! ( ! (& ( ( &
Fgt. + & 1. 1 1
$
52
$ $ $ $ " 1(0 1( & 1( & 1( & % 1( 1( & % 1( & 1( &
Cl. E ! ! $ '& ( + ! 2 % 0 % 0 % 0 0 2 % 0 % 0 % 0
(Req.) .
$ $ $$ " 2
52
! ! % & 2&
1 '& ( +
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52
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52
$ $ $$ " 2 .
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+ .
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52
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+ ! % (& ( ( (& ( 1( (& ( 1( & 2& % (& & ( % ( ( ( % ( % (& ( ( &
Sxa. E! 1, 2 .& 1 1 1
1 1 1
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52
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Sxt. B! .
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52
! ' %( %( ! % (& ( ( (& ( 1( (& ( 1( & 2& % (& & ( % ( (& ( % ( % (& ( ( &
Sx.bar. E! + .& 1 1 1
54 Maracatu (/ = 92) "Homenagem à Princesa Isabel"
$ $ " 1( 1 1 1 1( 1 1 1
% (0 & % (0 & % (0 &
52
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1
.
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52
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. 1 1 1
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52
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52
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52
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.
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52
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Tb. + 1
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52
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52
Perc. # * ' ( (0 & ( (% (( & ( (% (( & (
bat.
- 0 0 0 0 0
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$ 1 1
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2 (& 3 (& (& ( ( (
pt. choque 52 agogô
pt. sus. # * '- ( % (& ( % (& %( ( & & %(& ( & &
agogô # 0 0 0 0 0 0
bumbo 52 .
# "! 1' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' 1' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
triângulo
Perc. 3
tgl. * *
ganz. .
Suíte Nordestina PARTITURA:Funarte Hino Nacional 12.12.08 15:14 Page 11
11
58 D ! ! D ! ! ! ! ! ! 62
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58
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58
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Suíte Nordestina PARTITURA:Funarte Hino Nacional 12.12.08 15:49 Page 13
13
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83
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tgl. & &
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$ ' ' '! ' '! ' (' ' ' ' ' '* ( $ ' ' '! ' '! , ' ' ('
101
! $ !! ' ! ) # ) '* '!

Sxa. E! 1, 2 % "
$ (' ! (
' ' ,'
( ' (
101
! !! ' ! ' '! ' ' ' ' ' '* ) # )

' ' '! ' '+
(
'! $ ' ' '! '
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$ ' ' '! ' '! ' (' ' ' ' ' '* ( $ ' ' '! ' '! , ' ' '(
101
! $ !! ' ! ) # ) '* '!

Sx.bar. E! % "
101
(' (
! !! & & # ) * ' '! $ ' '* ) & &
1
"
Tpas. F 101
!! & & # ) +
2 ! '+
(
' '! $ ' (' ) & &
"
(
$ (' ' '! $ ' '*
101
1 ! !! & & # ) * ) & &

"
Tpts. B !
$ ! (' '' ''! $ '' '('*
101
2, 3 ! ! & & # ) '* ) & &

"
(
101
(' ' '! $ ' '
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Tbns. 101 ('
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2, 3 "
(
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101
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Bdn.
101
"
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(
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% "( (
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101
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101
Perc. #
bat.
% "
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!! !' ! ! ! ! ! ! ! ! ! ! !
pt. choque 101
pt. sus. # ' ' ' ' ' ' ' ' ' ' '
agogô
bumbo 101 %
# !! ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
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' (' ' ' (' ' (' '
ganz.
% "

19
)( ( (+ ( ( )( ( (+ ( ( )(
107 )( ( $( ( )('
!! ! & ' & - - ! & '
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107
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107
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(Req.) % .
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107
1 ! ! & (* (+
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107
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107
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107
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2 ) % . )
107
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! & ' & - - ! & '
1 % .
Tpts. B ! )(
$
107
)( (( $ ((+ , (( )(( ( (+ ( ( )( ( (+ ( ( )(
2, 3 ! ! & (' ' & - - ! & '
% .
107
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"! ! & ' ' & - - ! & '
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Tbns. 107
(
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107
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& ' - - ! & '
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% .
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107
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107
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% .
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107
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agogô
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#
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.
ganz.

20
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114
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1
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114
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! & &&! '&& && & !& & && && && !
, !! %
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! $ & &! & & * "&&&&&&& + * # , !! %

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

114
& &! & & & & & & * , * &

1
! & & & & .

1 ' ! ' - $
Tpas. F 114
! & &! & & & & &! & & & &
& &! * , * & &+ &+ $ '& &+ !! %
2 ' ' $& ' - ' $&
$ & &! & & '& & &! '& '& &. $ '& &%
& &! & & & & &
114
! * , * . . !! %
1 ' - $
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$ & &! & & '& & &! & & && !! '& '&& && $ ) '&& $ &&% ! %
114
2, 3 ! & $& ) && && && & * , * & . . . !

' - $
& &! & & '& & &! '& '& & $ '& &%
& &! '& & & & &
114
"! * , * . . . !! %
1 - $
Tbns. & &! & & '& & &! '& & & &! '&& '& && ) '&& &&%
) && && ! & & &! &.
114
"! $& * , * . . !! %
2, 3 - $
& &! & & '& & &! '& & & & !& & &! ' '& &. ) '& &.%
* &
114
"! * , . !! %
Bdn. -
114
$
"! &! & & * # , !! %
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'
& '& ! & & & !& & & & & &! +
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114
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& & !& & & &
Cb.
& & .& * # , !! %
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114
Perc. # (
&& & &&! & && &&( &&(! & & & & & && # * && !! %
bat. . .
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pt. choque
! ! ! ! ! ! ! ! ! ! !+ * # /
114
* & !! %
%
# & & & & & & & & & & & * # #
.&
pt. sus.
agogô .
bumbo $
& '& & & '& & '& & &! + * #
114
# & & & & & & & & & & & & &( !! %
' & & '& & & '& &
Perc. 3
tgl.
& ,
ganz.

21
+ * * * *3 * * * . . #
* * * *
2
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) * *
121
Pic. !! % (
& 5 6#
* * .* .* +. .+
rall.
* + * * * *3 * + * * * * * * * *
) * *
121
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& 5 6#
3 .+
rall.
* * .* .* +.
121
!! % + ) + * * * * * * * * *
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6
& 3 rall. 5
#
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& rall.
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5 6
(Req.) & rall.
#
$ .+
3
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121
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3
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+ & .5 .
6
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rall.
$ , .++ +.+
! ** **
121 3
2, 3 ! % ) * ** **
*
** -- 3 ! ** ++ $ *+ * * $ 3 ++ * *
3 ** * ** * *
+ . . 6
& 5
$ % #
121 rall.
!
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*- *. *., *, .* - 2 + * * $* 3* *. 3 * .+
& + rall.
5 .6
$ * * * * **/ * - * * ! .** .* #
.++
) * * !* + $* * * 3+
121
! $ % *- *, *, .** -- !*
3
Sxa. E! 1, 2 - . . . 6
& 5
#
rall.
$ .
) * * 3* + +2
121
! % *- , * */ */ ** -- $+ 3 ++ $ ** ** ! *
* * +
+
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.
rall. 5 . .* . 6
$$ % #
*, *, * -
121
* !
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Sx.bar. E! & rall. 5 .6
.* ! .* #
.+
2
121 Lento (' = 60)
! % 0 ) * * !* + $ * *3 * 3 + * * + * * !
5. .
1 6
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#
.
121
! % 0 ) * * !* + + $+ 3+ * * * ! * !* +
2
& . . . .6
rall.
5 #
$
121
* * .* .* .+ $ .+
! % ( ) * * * + * * * * * + * * * * * * * *
1 6
& 5
Tpts. B ! #
3 rall.
$
121
. . .++ .++
! % ( ) * * * + * * * * * + * * * * * * * * ** ! ** **
2, 3
& 3 rall. 5 6
121
"! % ) * */. */ *.- 2 + $+ 3+ - * .* ! .* #
.+
!
1 .
& rall. 5 6
. .* ! .* #
Tbns.
**. ** ** -- 22 3 ++ + ++ -- ** .+
121
"! % ) * ! * * +
2, 3 . / / +
& rall. 5 6
.
*/. */ * - * * !* + $ * *3 * 3 + * * .* ! .* #
.+
/* * !*
121
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Bdn. .
& rall. 5 6
#
121
"! % , *- * ! * * 3* !* !
Tb. *- . 2 + + * ! * .+
& rall. 5 . .6
+ * * 3* !* #
" ! % */- * - .*! .* .+
121
* ! 2 + !
Cb. . 5 6
&
. . #
rall.
.
", ) ! (
+4
0 0 ! .
* * +1
121
Perc. # % **- ) ! ( + + ! * * +
bat. / 1
& 1 1 rall.
. . 6#
Perc. 2
. . .
" " 41
pratos de choque
pt. choque 121
0 4 0 0 !
# % +
prato susp.
pt. sus.
+ + + ! * * +
agogô
1
& 1 1 1 1
6$
&
rall.
bumbo
." ." #
".
121
# % !
triângulo
Perc. 3
tgl. 0 0 0 0 rall. 1
6
ganz.

EDIÇÕES
FUNARTE FUNARTE
’S EDITIONS PARTITURAS
MUSIC
OFDE SCORESPARA
FOR BANDS
ANDAS
1995
Golden Repertoire of Francisco Manuel da Silva/Joaquim Osório Duque Estrada
Brazilian Bands Hino Nacional do Brasil
Antônio do Espírito Santo
Avante Camaradas / Dobrado 220 2008
Golden Repertoire of
Gilberto Gagliardi Brazilian Bands
Cidade de Diadema (dobrado) Anacleto de Medeiros
Jubileu (dobrado)
Joaquim Naegele
Mão de Luva (dobrado) Francisco Braga
Barão do Rio Branco (dobrado)
Silvestre Pereira de Oliveira
Amor de um Pai (dobrado) Joaquim Naegele
Professor Celso Woltzenlogel (dobrado)
Antônio Pedro Dantas (Tonheca Dantas)
A Desfolhar Saudades (valsa) Joaquim Naegele
Estrela de Friburgo (polka for solo trumpet and band)
2000
Golden Repertoire of Joaquim Naegele
Brazilian Bands Ouro Negro (dobrado)
Antonio do Espírito Santo
Avante Camaradas Anacleto de Medeiros
Dobrado 220 (dobrado) * reissue Os Boêmios (Brazilian tango)
Ceciliano de Carvalho José Genuíno da Rocha

Dever do Mestre (dobrado) Testa de Aço (frevo)
Gilberto Gagliardi Pedro Salgado

Cidade de Diadema (dobrado) * reissue Dois Corações (dobrado)
João Firmino de Moura Hymns of Brazil

Saudades de onde Nasci (valsa) D. Pedro I/ Evaristo da Veiga
Hino da Independência
João Trajano da Silva
Janaina (ciranda) Leopoldo Miguez / Medeiros e Albuquerque
Hino da Proclamação da República
Joaquim Naegele
Mão de Luva (dobrado) * reissue Brazilian Music for Bands
Edu Lobo/Capinam
José Aniceto de Almeida Ponteio (baião; arrangement by Hudson Nogueira)
Cecília Cavalcanti (valsa)
Guinga / Aldir Blanc
José Barbosa de Brito Baião de Lacan (choro; arrangement by Hudson Nogueira)
Bento Barbosa de Brito (dobrado)
Hermeto Paschoal
Levino Ferreira da Silva Bebê (baião; arrangement by Hudson Nogueira)
Lágrimas de Folião (frevo)
Noel Rosa
Luiz Fernando da Costa Palpite Infeliz (samba; arrangement by: Hudson Nogueira)
Archanjo Soares do Nascimento (dobrado)
Hudson Nogueira
Manoel Ferreira Lima Quatro Danças Brasileiras (samba, maxixe, marcha-rancho, choro)
Diana no Frevo (frevo)
Ivan Lins / Vitor Martins
Manoel Rodrigues da Silva Novo Tempo (arrangement by Hudson Nogueira)
Dengoso (choro)
Carlos Alberto Braga (Braguinha) / Alberto Ribeiro
Severino Ramos Copacabana (samba; arrangement by José Carlos Ligiéro)
Tubas de Papelão (dobrado)
José Ursicino da Silva (Mestre Duda)
Silvestre Pereira de Oliveira Suíte Nordestina (baião, serenata, maracatu, frevo)
Amor de um Pai (dobrado) * reissue
José Ursicino da Silva (Mestre Duda)
2004 e 2008 Suíte Pernambucana de Bolso (caboclinhos, serenata, côco, frevo)
Hymns of Brazil
Francisco Braga/Olavo Bilac Nelson Cavaquinho/Guilherme de Brito
Hino à Bandeira Nacional Folhas secas (samba; arrangement by Hudson Nogueira)

2 Suite Nordestina Full Score

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2 Suite Nordestina Full Score

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BRAZILIAN MUSIC FOR BAND SERIES

JOSÉ URSICINO DA SILVA

capa Suite Nordestina.indd 2-3 5/5/08 9:57:40 PM

FUNDAÇÃO NACIONAL DE ARTES / FUNARTE

DIRECTOR OF THE MUSIC CENTER

PROJECT COORDINATION BANDS

revised and edited by

T ECHNICAL DIRECTION , ADAPTATION, REVISION AND STANDARDIZATION

CONSULTING – TABLE INDICATING T ECHNICAL LEVEL

CONSULTING – FLEXIBLE INSTRUMENTATION /ARRANGEMENTS

E LECTRONIC EDITING – SCORE AND INSTRUMENTAL P ARTS

T EXT E DITING AND REVISION

COVER AND ILLUSTRATION

Fundação Nacional de Artes – Funarte

III Brazilian Music for Band Series — Suíte Nordestina

Brazilian Music Series for Band

T he repertoire of this series emphasizes arrangements of MPB and original compositions.

Maestro Marcelo Jardim

Brazilian Music for Band Series — Suíte Nordestina IV

*Eb clarinet Bb trumpet 2

* bass clarinet trombone 3

Eb sax alto 1 BC baritone

Eb sax alto 2 tuba

Bb sax tenor 1 percussion 1 (snare drum /drum set)

Bb sax tenor 2 percussion 2 (cymbals and bass drum)

Eb sax baritone percussion 3 (triangle, ganzá)

Eb sax horn 1 BB Baritone TC

Eb sax horn 2 Bb tuba

Eb sax horn 3 Eb tuba

Note to the Director

V Brazilian Music for Band Series — Suíte Nordestina

Marcos Vinício Nogueira

Brazilian Music for Band Series — Suíte Nordestina VI

VII Brazilian Music for Band Series — Suíte Nordestina

Série Música Brasileira para Banda

Sax. barítono E! ! %& + + + 2 +

" $ & +, +- +/- +/ -+ -+ 2 0 %0 40 0 0 0

# )) ++ - & )) (( ' () - ) ) ' - (( )

' ) &) ( ' ) - )3 ) - ( ) ) ) ) ))2 ) + - ) )) - & ))

# ' . ) )) ' ' )) "!

# '( - *( '( ( -( "!

# ' * ) ) ') ) "!

# . ) ) &) ( ' ) - )3 ) - ( )2 ) + ( ') -) ') -)

# . ) ) &) ( ( '( -( "!

# ) ) ) ) ) ( ) ) ) ) ) ) ) ) )) & )) )) - & )) "!

FUNARTE — Ministério da Cultura

! "! ( ' ( *( ( ( *( ( - (' 0

! % "! ( ' ( *( ( ( *( ( - ('

pt. sus. # (' ( ( ( ( ( ( - (' 0 (' ( ( ( ( ( (

FUNARTE — Ministério da Cultura

Ob. !$ ' (& / && - - - -

! % ' (& '

! ' (& 0 && ( ( ( ( %( ( (& ( ' (& 0

! '' (( && / && - - - -

# ' (& / (& ( /& ( / ( /

Cl. E % " ' ' ' ! * .(

" ' ' * ( ( ( ( * +

" & ' ' * ( ( ,( ( -- (( ((

1 " ' ' ' ! * (+ ( ( (

2, 3 " ' ' ' ! * (+ (( (( (( (( (( (( (( ((

" & ) ) ) * , '' (

" , , ) ) ) )' ) * )' , '' (

" , , ) ) ) )' ) * )' , '' (

" & ** )) '' , ,

! "! ( ' ( ( ( ( ( ( - (' 0

! % "! ( ' ( ( ( ( ( ( - ('

pt. sus.

pt. sus.