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douglasGUIA PRÁTICO FOR PIANO
BY HEITOR VILLA-LOBOS:
A PERFORMANCE EDITION WITH CRITICAL NOTES AND COMMENTARY
A DISSERTATION
SUBMITTED TO THE GRADUATE SCHOOL
FOR THE DEGREE
DOCTOR OF ARTS
BY
FABIÁN JIMÉNEZ HERRA
DISSERTATION ADVISOR: DR. RAY KILBURN
BALL STATE UNIVERSITY
MUNCIE, INDIANA
JULY 2009
TABLE OF CONTENTS
ACKOWLEDGEMENTS .......................................................................................................... v
ABSTRACT .............................................................................................................................. vi
CHAPTER ONE – Heitor Villa-Lobos’ biographical background ............................................ 1
CHAPTER TWO – Guia Prático for piano ............................................................................... 6
Background
Significance of the Guia Prático for piano
CHAPTER 3 – Performance Edition of the Guia Prático for piano ........................................ 24
Methodology
Editorial Procedure
Album I
No. 1. Acordei de madrugada (I Woke up Very Early) .............................................. 30
No. 2. A mare encheu (The Tide Flowed) ................................................................... 33
No. 3. A roseira (The Rosebush) ................................................................................. 36
No. 4. Manquinha (The Little Limping Girl ............................................................... 38
No. 5. Na corda da viola (On the String of the Guitar ................................................ 41
Album II
No. 1. Brinquedo (Play ................................................................................................ 50
No. 2. Machadinha (Little Axe) .................................................................................. 53
No. 3. Espanha (Spain) ............................................................................................... 55
No. 4. Samba-Lele ....................................................................................................... 59
No. 5. Senhora Dona Viuda (Mrs. Widow)................................................................. 64
Album III
No. 1. O pastorzinho (The Little Shepherd) ................................................................ 69
No. 2. Joao Cambuete ................................................................................................. 72
No. 3. A freira (The Nun) ............................................................................................ 75
No. 4. Garibaldi foi a Missa (Garibaldi went to Mass)............................................... 78
No. 5. O piao (Oh Whirligig) ...................................................................................... 82
Album IV
No. 1. O pobre e o rico ................................................................................................ 87
No. 2. Rosa amarela (Yellow Rose) ........................................................................... 90
No. 3. Olha o passarinho, domine! (Look at the Little Bird, Domine!)...................... 93
No. 4. O gato (The Cat) ............................................................................................... 96
No. 5. O sim! (Oh Yes!) .............................................................................................. 98
Album V
No. 1. Os pombinhos (The Little Doves) .................................................................. 102
No. 2. Voce diz que sabe tudo (You Say You Know Everything) ............................ 104
No. 3. Co, Co, Co! ..................................................................................................... 107
No. 4. O bastao ou mia gato ..................................................................................... 111
No. 5. A condessa (The Countess)............................................................................. 114
Album VI
No. 1. Sonho de uma creanca (A Child's Dream) ..................................................... 122
No. 2. O corcunda (The Hunchback) ........................................................................ 125
No. 3. Caranguejo (Crab).......................................................................................... 128
No. 4. A pombinha voou (The Little Dove Flew Away) ........................................... 132
No. 5. Vamos atraz da serra, oh! Calunga!
(Let's Go Behind the Mountain, Oh! Calunga!) ............................................. 135
Album VII
No. 1. No fundo do meu quintal (In My Backyard)................................................... 139
No. 2. Vai abobora! (Some Pumpkin!) ..................................................................... 142
No. 3. Vamos, Maruca (Let's Go, Maruca) ............................................................... 146
No. 4. Os pombinhos (The Little Doves) .................................................................. 149
No. 5. Anda a roda (Round the Circle) ..................................................................... 152
Album VIII
No. 1. O limao (Oh Lemon) ...................................................................................... 158
No. 2. Carambola ...................................................................................................... 160
No. 3. Pobre cega (Poor Blind One) ......................................................................... 162
No. 4. Pai Francisco (Father Francisco .................................................................... 164
No. 5. Xo! passarinho (Shoo! Little Bird) ................................................................. 167
No. 6. Sinh'Aninha (Miss Aninha) ............................................................................ 169
No. 7. Vestidinho branco (Little White Dress).......................................................... 171
Album IX
No. 1. Laranjeira pequenina (Small Orange Tree) ................................................... 175
No. 2. Pombinha, rolinha – brinquedo de roda
(Little Dove, Little Pigeon – round song) ...................................................... 178
No. 3. O ciranda, o cirandinha – round song ........................................................... 181
No. 4. A velha que tinha nove filhas183
(The Old Woman Who Had Nine Daughters) ................................................ 184
No. 5. Constante (Faithful)........................................................................................ 187
No. 6. O castelo (The Castle) .................................................................................... 189
Album X
No. 1. De flor em flor ................................................................................................ 193
No. 2. Atche ............................................................................................................... 196
No. 3. Nesta rua ......................................................................................................... 198
No. 4. Fui no Itororo (1st version)............................................................................. 201
No. 5. Mariquita Muchaca ......................................................................................... 206
No. 6. No Jardim celestial ......................................................................................... 209
Album XI
No. 1. O Anel ............................................................................................................ 214
No. 2. Nigue Ninhas .................................................................................................. 222
No. 3. Pobre Cega...................................................................................................... 226
No. 3. A Cotia............................................................................................................ 230
No. 4. Vida Formosa ................................................................................................. 232
No. 5. Viva o carnaval ............................................................................................... 237
CHAPTER FOUR – Summary and recommended suggestions for further study ................. 244
BIBLIOGRAPHY .................................................................................................................. 246
ACKNOLEDGEMENTS
I would like to express my deepest appreciation to my piano teacher, advisor and
friend, Dr. Ray Kilburn. You have challenged me and offered me continuous support
throughout this project and my studies at Ball State. Your academic excellence,
combined with an unconditional friendship has been invaluable.
I am grateful to Marcelo Rodolfo at the Museu Villa-Lobos in Rio de Janeiro for
his help with this project. His generous attitude, regardless of the distance, was always a
motivation. The assistance of Manoel Corrêa do Lago in Brazil and Dean Frey in Canada
was vital to complete of this project.
Special thanks to my dear friend Jessi Burkey for his unreserved help as
proofreader. I will be always thankful music made us friends and keep giving us
wonderful opportunities to grow up as musicians and friends. Thanks also to Isabel
Meza, for her unrestricted support in every moment. To my family, who have been
always there regardless of the distance, GRACIAS!
v
ABSTRACT
Heitor Villa-Lobos, a native Brazilian, is one of the most significant Latin
American composers, known for his distinct combination of indigenous music, European
musical training and Brazilian folk music. In addition to his career as a composer, Villa-
Lobos was involved with music education in Brazil. He was the chair of SEMA
(Superintendence of Musical and Artistic Education). During his tenure with SEMA, he
established music as a required subject in all schools through the study of choral singing.
It was this period that led Villa-Lobos to compose his Guia Prático (Practical Guide), a
collection of songs based on Brazilian folk music.
Based on the original material of the Guia Prático, Villa-Lobos composed
eleven books for solo piano, each one containing five to six pieces. The result is a varied
collection of piano pieces that reflects the spirit of Villa-Lobos and his Brazilian soul.
Though intended for pedagogical purposes, many pieces are too complex for the novice
pianist.
In this project, I have compared the existing manuscripts of the choral version of
the Guia Prático and subsequent published versions, as well as the current piano version.
With all the available scores, I began a comparison of each piece contained in the piano
version. During this process, many questions arose regarding notation and editing.
Therefore, in each piece I indicated the variants between scores. Some pieces are
essentially identical to the original score but are included to complete the collection. The
result is a revised and edited performance edition of the complete Guia Prático for
Piano.
vi
CHAPTER ONE
HEITOR VILLA-LOBOS’ BIOGRAPHICAL BACKGROUND
Heitor Villa-Lobos was born on March 5, 1887 in Rio de Janeiro, Brazil. His
father, Raul Villa-Lobos, a respected librarian and amateur musician, introduced the
young Heitor to classical music. This contact was at his house, where the Villa-Lobos
family organized gatherings with respected musicians every Saturday. These meetings
continued for many years, making a crucial impact on Villa-Lobos’ musical
development. In addition, his formal musical training started at six when his father taught
him to play cello on a specially adapted viola. As a result, Villa-Lobos was exposed from
a young age to European art music.
During the 1880’s the classical music scene in Rio de Janeiro was growing
gradually. Several operas were presented and different music associations were founded.
However, during this time period the Villa-Lobos family was advised to leave the capital
for political reasons. Villa-Lobos’ father, who was also a member of the Republican
movement, became embroiled in political scandals because of some polemical articles he
wrote. Therefore, the family spent several months in the interior of Brazil. It was during
this time that Villa-Lobos first experienced rural music. He became acquainted with
modas caipiras (folk songs) and had direct contact with folk-guitar players.
2
When the family returned to Rio, Villa-Lobos continued his cello lessons. He
started piano lessons with his aunt Fifinha, who was a good pianist and especially fond of
Bach. She introduced Tuhú (Heitor’s nickname) to the preludes and fugues of the “Well-
Tempered Clavier.” During this time, Villa-Lobos came in contact with another type of
music that was played in the streets and squares of Rio de Janeiro: the chôro. This type
of music inspired Villa-Lobos to study guitar secretly. He kept this from his parents
because they considered music of that kind related to delinquent behavior.
This combination of popular and classical music would influence Villa-Lobos to
introduce new musical forms. He combined urban music with modern compositional
techniques in two of his most important works: the nine Bachianas Brasileiras and the
fourteen Chôros.
Heitor Villa-Lobos continued to pursue his interest in folk music after his father’s
death in 1899. Instead of following his mother’s desire for him to become a physician, he
decided to travel into the interior regions of Brazil. In 1905, when he was 18, Villa-Lobos
sold the library left by his father to support the first of several trips into the interior of
Brazil. He also went to the North and Northeast of the country. It was during these trips
that Villa-Lobos was exposed to native Brazilian music, which would be the inspiration
for many of his compositions. Although he absorbed everything he heard, he was not an
ethnomusicologist in the formal sense like Bela Bartók. He made no formal records of his
trips. In fact, Villa-Lobos once tried a formal education in music theory and composition
at the Instituto Nacional da Musica. These studies were short lived because he found the
3
teaching still rather conventional. In a later interview when he was asked about his
1
studies, he pointed to a map of Brazil and replied: “This is my conservatory”.
When he was 28, Villa-Lobos married the pianist Lucilia Guimarães. This event
was a turning point which caused him to start leading a more settled life. He played in
restaurants and even began to write reviews for newspapers. The year of their marriage,
1915, marked the beginning of an enormous increase in Villa-Lobos’ compositions.
Works such as the symphonic poems Amazonas, Naufragio do Kleonikos, and Uirapuru
began to spread the name of Villa-Lobos as an established composer. Thanks to his
compositions, Villa-Lobos had the opportunity to come in contact with Darius Milhaud
and Arthur Rubinstein during their visits to Brazil. After this meeting, Rubinstein
included Villa-Lobos’ Piano Suite A Prôle do Bébé in his permanent repertoire.
By 1923 Villa-Lobos was well-known in Brazilian music circles. This allowed
him and his wife to go to Europe, funded initially by a Brazilian government scholarship.
After they settled in Paris, Villa-Lobos gradually won the respect of the innermost circle
of that city’s musical group. At the same time, renowned performers such as the pianist
Arthur Rubinstein and the soprano Vera Janacopulus were performing his works in
different countries. Villa-Lobos later became professor of composition at the
International Conservatory in Paris. He had the opportunity to play and conduct in the
major cities of Europe, and started working as an editor at Max Eschig’s Publishers. All
of this further established him as a recognized composer.
From 1926 to 1930, Villa-Lobos returned to Brazil several times to conduct
multiple concerts. In 1930, the political situation of Brazil changed drastically with the
1
Eero Tarasti, “Heitor Villa-Lobos, the Life and Works, 1887-1959,” p. 39.
4
revolution led by Getúlio Vargas. When Villa-Lobos returned permanently to Rio in
1932, he found a completely different political situation. This paved the way to a new
area of emphasis in his career: the role of music educator.
Villa-Lobos started his work as music educator with a concert tour of 54 rural
towns near São Paulo. These concerts included works by Chopin, Tchaikovsky, Debussy
and Villa-Lobos himself. The reaction to these presentations was very diverse. According
to the local papers, the ensemble was formally received. This included speeches and
ceremonies with the awarding of medals of honor. However, in other towns, opposite
reactions occurred especially because of Villa-Lobos’ speeches. In those towns the group
was obliged to escape from its hotel in the middle of the night.
In 1932, when Villa-Lobos was 43, he came in contact with the government of
President Vargas. Villa-Lobos received government support to found SEMA
(Superintendence of Musical and Artistic Education). As the superintendent of music in
Brazil’s schools, one of his first acts was to make music a required subject in all schools
through the study of choral singing. Villa-lobos felt that all people needed to be musically
educated in order to understand serious music. He focused his efforts on choral music
because he considered it the most simple and efficient way for someone to get a musical
education. At the same time, his approach was a reflection of the political attitude of
those days: the idea of a collective Brazilian identity and “building a nationality”. 2
Following this philosophy, during the 1930s a Professor’s Choir was created. Under the
direction of Villa-Lobos, massive choral concerts were organized in stadiums
culminating with a group of 40,000 students in 1942. It was during this time that Villa-
2
Museu Villa-Lobos, Villa-Lobos Edição Do Centenario, p. 81.
5
Lobos emerged as one of the most important figures in Brazil and many people began to
consider him the musical representative of all Latin America.
The educational activities of SEMA continued until the creation of the National
Conservatory of Orpheonic Singing in 1942. 3 Villa-Lobos maintained his interests in
both organizing music instruction in Brazilian schools, and in Brazilian music. These
factors inspired him to compose his Guia Prático, a collection based on Brazilian folk
songs. Villa-Lobos planned the publication of six volumes, however, only the first
volume containing 137 songs was published. Although Villa-Lobos was inspired by
Bartók and Kodály’s efforts, this collection should not be compared to the scientifically
exact collection of Bartók. While this collection is not considered a resource for the
study of Brazilian folk music, it is an important source for the study of Villa-Lobos’
unique style.
3
Orpheonic meaning choral.
CHAPTER TWO
GUIA PRATICO FOR PIANO
Background
In 1932 Heitor Villa-Lobos composed a collection of choral pieces titled Guia
Prático. Guia Prático, which means “Practical Guide,” is based upon Brazilian folk
melodies and poetry. It was intended as an educational tool aimed at elevating musical
standards in schools while incorporating Brazilian folk music. Villa-Lobos also wrote a
second version of Guia Prático for solo piano. Based on the original material of the first
version, Villa-Lobos composed eleven books for solo piano with each book containing
five to six pieces. The Guia Prático for Piano is part of an extended and varied output for
piano which contains over two hundred compositions for solo piano. Villa-Lobos
demonstrated that regardless of the fact that he was not a pianist (the cello was his
primary instrument), he had a remarkable understanding of the technical and expressive
possibilities of the instrument.
Guia Prático for Piano has been published by several different publishers.
However, there is not a complete publication of the entire eleven albums. Furthermore,
current editions contain many mistakes and lack clear indications for correct
performance. This dissertation intends to provide an updated and corrected performance
edition of all eleven albums in the Guia Prático for Piano, and will make direct reference
7
to texts in the choral version. It is hoped that providing the texts will lead to a more
thorough understanding and interpretation for both teachers and students.
Review of Literature
There are only limited resources related to the works and life of Heitor Villa-
Lobos. To begin with, the book Heitor Villa-Lobos: The Search for Brazil’s Musical Soul
by Gerard Béhague is an excellent biographical study. It provides an analysis of his three
main periods and the most important musical influences during his life. This book also
studies the musical language of each period, and the final chapter is dedicated to the
discussion of national style versus musical nationalism in Villa-Lobos’ music. Heitor
Villa-Lobos, The Life and Works, 1887-1959, by Eero Tarasti presents one of the most
complete resources about the works of Villa-Lobos. This book contains not only
significant biographic references, but also a more detailed musical analysis of Villa-
Lobos’ main works, such as the Choros and the Bachianas Brasileiras. The first chapter,
“A Survey of Music History in Latin America,” is also an excellent article about the
music scene in Latin America during the first half of the 20th century and its main
composers.
Lisa M. Peppercorn is one of the most important authors dealing with relevant
bibliographic and historical sources about Villa-Lobos. In her book Villa-Lobos,
Collected Studies, Peppercorn presents thirty one articles about Villa-Lobos’ life, music,
and works. Peppercorn also presents “The Villa-Lobos Letters,” a collection of letters
between Villa-Lobos, his colleagues, and his family that covers a time period of more
8
than thirty years. These letters are classified chronologically, offering an accessible
approach to his works as well as his personal life.
Another important study is Simon Wright’s Villa-Lobos, which offers an
overview of the main works of the Brazilian composer. Wright includes a combination of
biographical notes and musical analysis. Vasco Mariz’s Heitor Villa-Lobos, Brazilian
Composer also follows this format. This book also includes Villa-Lobos’ main works;
however, the musical analysis is more superficial. To celebrate the centenary of Villa-
Lobos’ birth, the Villa-Lobos Museum published a biography with a catalog of all of his
works. This book, also titled Villa-Lobos, contains several pictures and other illustrations,
making this work a most interesting source.
Some journal articles are devoted to Villa-Lobos’ works, but very few are related
to his piano works and the Guia Prático. Furthermore, they are usually not published in
very well known journals, such as The American Music Teacher and Clavier. For
example, in his article “Heitor Villa-Lobos,” Randall Bush presents a superficial
overview of the composer’s main works with scant biographic and stylistic notes.
Another article by Bush,”The Piano Works of Heitor Villa-Lobos,” offers a more
complete overview than the previous article, giving more extended musical analysis of
some piano pieces. Likewise, Laurence Morton’s article, “Villa-Lobos, Brazilian
Pioneer,” deals specifically with the piano works in accordance with some of their
pedagogical and stylistic elements. Finally, in the article “Interpreting the Music of
Heitor Villa-Lobos,” Roberta Rust presents an analysis of the Ciclo Brasileiro, one of his
most important piano works.
9
There are also a few theses and dissertations that deal with the piano works of
Villa-Lobos and the Guia Prático. For example, Laurine Elkins’ dissertation “An
Examination of Compositional Technique in Selected Works of Heitor Villa-Lobos”
presents an extensive analysis of Villa-Lobos’ main piano works, focusing on melody,
harmony, rhythm, use of ostinato patterns, form, pianistic writing, and programmatic and
descriptive elements. Martha Marchena’s dissertation “An Analytical Study of Three
Solo Piano Works by Heitor Villa-Lobos (1887-1959)” includes a thorough analysis of
Prole do Bébé N.1, Rudêpoema and As Três Marias. More importantly, it deals with the
evolution of Villa-Lobos’ style, the influence of indigenous and ethnic culture, and his
methodology of composition. In his thesis “The Uses of Folk Song in a Selected Group of
Piano Compositions by Villa-Lobos and Bartok,” Robert Pennington analyzes the use of
folk themes in the music of Villa-Lobos and Bartok. Besides studying the main elements
of both Brazilian and Eastern European folk influences, Pennington includes a
comparison between the two composers. Only one dissertation deals entirely with the
Guia Prático: “Guia Prático for Piano by Villa-Lobos: Stylistic and Pedagogic Insights
into Albums I, VII, and IX” by Susan Schroeder Cobb. In her dissertation, Cobb aims to
acquaint the contemporary piano teacher with a repertoire reflecting Brazilian culture.
This dissertation includes a stylistic analysis and pedagogic insights on the pieces
contained in Albums I, VII, and IX of the Guia Prático for Piano.
The complete Guia Prático for Piano has been recorded only three times. The
first recording was performed by Anna Stella Schic, a close friend of Villa-Lobos.
Recorded in 1976 by the label Solstice, this is part of the first recording of his whole
piano music series. In 1996, Sonia Rubinsky and NAXOS also released a collection of
10
Villa-Lobos’ piano music. Volume five of this collection contains Albums I to IX of the
Guia Prático for Piano. Albums X and XII appear on a later release in this series. The
most recent recording is by Clara Sverner, released under the Brazilian label Biscoito
Fino in 2008. Other pianists, such as Louis de Moura Castro, Caro Pagano, and Joel
Bello Soares have also included portions of the Guia Prático for Piano as part of a
recording.
While all the literature discussed above will support this research, most of these
resources do not offer specific guidance related to the complete Guia Prático for Piano.
In addition, the performance of the pieces contained in this work has been neglected due
to the lack of a revised edition. For the first time, a corrected edition of all eleven albums
of the Guia Prático for Piano will be presented.
Significance of the Problem
This project aspires to contribute to the small amount of literature related to Villa-
Lobos’ piano works. As a review of materials show, several articles and books have been
written about Villa-Lobos, but they are mostly biographical. Few of them deal
specifically with his piano works. Robert Pennington’s dissertation focuses on Villa-
Lobos’ process of writing, and though this is highly important, it does not offer any
criticism related to the performance of Villa-Lobos. Some dissertations and theses are
related to the Guia Prático for Piano, but only explore some specific albums of this
work. For example, Martha Marchena focuses on albums I, VII, and IX, offering a very
complete analysis of the pieces contained in those albums. Additionally, Marchena
includes important biographic and historic references to the Guia Prático. Unfortunately,
11
there is no document or publication that includes all the eleven albums of the Guia
Prático for Piano. The available scores of selected books contain several editing mistakes
and lack performance indications for the pianist. In addition, none of the scores available
make reference to or include the text of the choral version.
The Guia Prático for Piano has a wide range of pedagogical possibilities and
important performance challenges both for teachers and students. This project will offer
an excellent teaching tool for those interested in exploring the music of Villa-Lobos and
improving their piano technique. The repertoire of the Guia Prático can add variety to the
repertoire of any pianist and be a great complement to more established collections by
major composers.
Significance of the Guia Practico for Piano
TEXTURE
The textures in Villa-Lobos’s pieces range from simple melodies accompanied by
simple harmonies to more complex arrangements. For example, the piece Accordei de
Madrugada (which means Chords of the dawn) is not an overly complicated work,
technically speaking. However, the 4 part texture is characterized by the use of separate
rhythms in each part. The main theme is played using the thumb of the right hand, which
is a challenge when dealing with voicing. The bass line, in a continuous quarter note
figuration, interacts smoothly with the tenor line that provides rhythmic contrast (ex 1).
12
Example 1. Accordei de Madrugada, mm. 1-4.
The combination of rhythms, especially in the left hand, deserves careful
attention. Villa-Lobos starts the piece in F major, but he changes to F minor in the B
section creating a new atmosphere. During the entire piece, the upper part includes grace
notes at the beginning of each measure that likely symbolize church bells in the early
morning. The text of the folk song tells about a person who wakes up very early to sweep
the church. During this time, he has a conversation with the Virgin Mary and other
Saints!
In Manquinha (or Little Lame Girl) Villa-Lobos introduces a charming melody
accompanied by simple harmonies in the middle register (ex. 2). In the middle section of
the piece, he uses octaves in the lower register to expand the range (ex 3). The change
from G major to B minor is accompanied by a change in the color and breadth of the
texture.
13
Example 2. Manquinha, mm. 6-9.
Example 3. Manquinha, mm. 15-18.
Machadinha (or Little axe) also exemplifies this style or writing (ex. 4-5).
Example 4. Machadinha, mm. 4-6.
14
Example 5. Machadinha, mm. 12-14.
Pobre Cega (Poor blind woman) is a piece with a thin texture. The piece presents
a mournful single melodic line. The melody is accompanied by chant-like octaves in the
left hand that imitates the slow walking of the blind woman (ex 6).
Example 6. Pobre Cega, mm. 1-3.
Laranjeira Pequenina (or The Little Orange Tree) is built on an ostinato figure in
the middle register. Combined with a playful, simple melody, this piece tells the story of
a little girl who dreams about her future husband. Because of the close range of the
writing, it is especially important to pay attention to balance; the ostinato figure should
not overpower the other lines (ex. 7).
15
Example 7. Laranjeira Pequenina, mm. 6-8.
RHYTHM
Though all musical elements contribute to Villa-Lobos’s style, it is especially
rhythm and melody that dominate his music. The rhythmic content is largely influenced
by African culture. Although it is difficult to categorize all the influences, common
characteristics can be found between African and South American music. One of the
most important similarities is the use of meters that are binary and strongly syncopated.
The distinctive Brazilian syncopation, often found in Brazilian dance music, is a clear
example of that combination:
These rhythmic combinations are ubiquitous in Villa-Lobos’ output, a good
example of which can be found in “O’ Pião” (ex. 8).
16
Example 8. O’ Pião, mm. 6-9.
O’ Pião (Mary-go-round) presents contrasting rhythmic sections. A pompous,
march-like introduction is followed by the A section in which the syncopations, accents,
and octaves resemble the joyful atmosphere of the town fair. The B section imitates the
merry-go-round. For that purpose Villa-Lobos uses 3 staves: a pedal tone in the lower
register and a continuous rhythmic figuration in the middle and upper register (ex. 9).
This combination creates a layered texture that imitates some later Romantic or
impressionistic writing.
Example 9. O’ Pião, mm. 27-31.
17
Rosa Amarela (Yellow Rose) begins with a sensual introduction full of
chromaticism. Following this introduction, a syncopated theme in thirds is introduced
accompanied by a syncopated chord pattern in the left hand (ex. 10). This combination
produces a lifting dance-like flavor.
Example 10. Rosa Amarela, mm. 5-8.
A very different kind of dance mood is presented in Senhora Dona Viuva (Miss
Widow).This perpetual motion tarantela employs virtuosi passages that require careful
attention to fingering and articulation. The rhythmic energy, present from beginning to
end and highlighted with bursts of dissonances, creates a piece full of energy and vigor
(ex. 11).
Example 11. Senhora Dona Viuva, mm. 1-5.
18
In Maré Encheu (The tide flowed) the A section presents a delightful melody with
rich harmonies (ex. 12).
Example 12. Maré Encheu, mm. 5-8.
The contrasting B section is full of dance-like rhythmic vitality (ex. 13).
Example 13. Maré Encheu, mm. 12-14.
The combination of these contrasting sections presents a wide variety of musical
and technical elements. This is ideal from a pedagogical point of view
MELODY
The music of Villa-Lobos is distinguished by its melodic inventiveness. Based on
folk tunes, these melodic lines are primarily simple in contour and easy to remember. In
19
pieces like Vestidinho Branco (Little White Dress) (ex. 14), and O’ Ciranda, O’
Cirandinha (a circle dance) (ex. 15), Villa-Lobos presents melodies that move almost
entirely by thirds and by step wise motion.
Example 14. Vestidinho Branco, mm. 1-4.
Example 15. O’ Ciranda, O’ Cirandinha, mm. 1-5.
The accompaniment of both pieces is simple, using blocked or broken chords.
However, Villa-Lobos uses different registers in the melody and/or tempo changes to
create contrast in these pieces.
Many of the tunes contained in the Guia Prático are used by Villa-Lobos in other
works and even in this same collection with a different arrangement. For example
Constante (Faithful) (ex. 16) and Condesa (the Countess) (ex. 17) have the same melody.
20
Example 16. Constante, mm. 1-5.
Example 17. Condesa, mm. 1-3.
These two pieces are a clear example of different ways of arranging a melody. In
the first piece, the left hand has an accompaniment in thirds, and the melody flows with
8th and 16th notes. In the second piece, the accompaniment begins with very simple
harmonies that move mainly between tonic and dominant. Then, through several meter
changes the texture becomes thicker and rhythmically more intense. The melody employs
dotted rhythms with punctuated phrases groups, lending an entirely different character to
this setting.
TEXTS
Each song of the Guia Prático was originally composed for choir. The texts of
each piece describe short stories about childrens games, religious characters, and
21
childhood love, among other subjects. This reference to child related topics is a common
characteristic in Villa-Lobos’ music. Besides reflecting the cultural context of Brazil,
some of the texts in the Guia Prático have also a historical implication. For example , in
Garibaldi Foi a Missa (Garibaldi went to Mass) the text makes reference to the Italian
patriot and soldier Giuseppe Garibaldi, who went to Brazil and took up the cause of
independence of a Brazilian province against the newly independent Brazilian nation.
However, based on the text it is hard to tell whether or not Garibaldi was a popular hero.
There is definitely some humor implied in the original verse.
Garibaldi Foi À Missa Garibaldi went to Mass
Garibaldi foi à missa Garibaldi went to Mass
No cavalo sem esporas; on a horse without spurs;
O cavalo tropeçou, The horse tripped over,
Garibaldi lá ficou. and Garibaldi was stuck.
Bis Bis
Sohno de uma crianca (Child Dreams) is a beautiful and delicate piece in tempo
di minuet; here Villa-lobos tells us about the innocent conversation between a child and
his mother. She is telling her about the dream in which she visited her father in heaven.
Sonho De Uma Creança Child’s Dream
Mamãi, eu tenho um segredo Mommy, I have a secret
Que vou contar amanhã, which I will tell you tomorrow,
É lindo como são lindos it is as beautiful
Os olhos de minha irmã. as my sister’s eyes.
É lindo como as folhinhas It is as beautiful as the little leaves
Da bela flor da romã, as the beautiful pomegranate flower,
Mamãi, eu hoje não digo Mommy, I will not tell you today
Mas eu direi amanhã but I will tell you tomorrow.
22
Sonho De Uma Creança Child’s Dream
Contai-me, oh filha querida, Tell me, oh dear daughter,
De contar não tenhas medo, do not be afraid to tell me,
Eu prometo hei de guardar I promise I will keep
O teu bonito segredo. your beautiful secret.
Mamãi, vóvó já me disse Mommy, grandma told me
Que os sonhos que a gente tem that the dreams we have
Para tornar-se em verdade can become reality
Não se dizem a ninguem. if we don’t tell anyone.
Pois bem, eu vou esperar, So be it, I will wait,
Contrariada talvez, displeased, maybe,
Até que possas contar until you can tell me
O teu segredo outra vez; your secret;
--Mamãi, mamãi, dai-me agua, --Mommy, mommy, give me water,
Oh! meu Deus, que sêde eu Oh! God, I am so
tenho! thirsty!
Mamãi, que doce gostoso Mommy, what a lovely sweet
Comi no céo, donde venho. I ate in heaven, where I come from.
--Porque tu não me trouxeste --Why did you not bring me
Ao menos uma fatia, at least a piece,
Do doce que comeste of the sweet you ate
Dos anjos em companhia? in company of the angels?
--Eu disse a Papai do Céo --I told Father who is in Heaven
Na terra não quero ir. to earth I do not want to go.
Ele sorrindo me disse: He told me smiling:
Vai ver si mamãi quer vir. go see if mommy wants to come.
In O Gato (The cat) Villa-lobos’ humorous personality is evident. This piece, dark
and mysterious, describes a person who threw a stick at a cat. The listener should listen
carefully to the last chord of the piece to hear the cat’s reaction!
23
O Gato The Cat
Atirei um pau no gato, to! I threw a stick at the cat,
Mas o gato não morreu, reu, reu, but the cat did not die.
Nha Chica, ca admirou-se, se Miss Chica was surprised
Do berro que o gato deu. at how much the cat screamed.
Ah! Ah!
Na corda da viola (On the string of a guitar) is a piece with a rhythmic theme and
a wonderful middle section in a dance-like mood (ex 18). This work makes reference to
Brazilian folk guitar writing.
Example 18. Na Corda Da Viola, mm. 1-2.
CHAPTER THREE
REVISED AND EDITED VERSION OF THE GUIA PRÁTICO FOR PIANO BY
HEITOR VILLA-LOBOS
Methodology
When researching the Guia Prático by Heitor Villa-Lobos, I encountered many
difficulties trying to obtain source materials. For this reason, I contacted Marcelo Rodolfo
at the Villa-Lobos Museum in Rio de Janeiro, Brazil in an effort to gain access to the
manuscripts of the piano version and obtain permission to use the scores. Rodolfo
instructed me to contact Manoel Corrêa do Lago, who is currently publishing the choral
version of the Guia Prático. He informed me that no piano scores of the Guia Prático are
available, as the piano pieces were taken directly from the choral version. Based on this
information, the main sources for this project are the existing choral version of the Guia
Prático manuscripts and subsequent published version, as well as the current piano
version of the Guia Prático. For the notes included in each piece I have used the
following abbreviations:
Manuscript: MSC
Choral Version of Guia Prático: CV
Max Eschig Edition / Éditions Max Eschig: MEE
Mercury Music Edition: MME
25
Southern Music Publishing: SMP
Consolidated Music Publisher: CMP
With all the available scores, I began a comparison of each piece contained in the
piano version. During this process, many questions arose regarding notation and editing
arose. Therefore, in each piece I indicated the variants between scores. Some pieces have
no variations from the original score but are included to complete the collection. The
result is a revised and edited performance edition of the complete Guia Prático for Piano.
Editorial Procedure
The choral version of the Guia Prático contains homophonic songs, as well as
songs for two and three voices. Some include a simple bass accompaniment that
functions as harmonic support. In other cases, Villa-Lobos wrote an accompaniment
either for piano or ensemble, although he did not specified the instrumentation. Villa-
Lobos also wrote, based on some of the original songs, a different version for piano solo.
During this process, he used articulation marks, especially the accent mark (>), to denote
the melody line from the choral version (ex. 19a and 19b). However, Villa-Lobos is not
consistent in this practice. In many works contained in the piano version, the articulation
marks are missing in several sections. Other parts use different articulation markings,
although the same melodic material is used. Although these marks may help the
performer to clearly identify the melody, they can be misread as overly aggressive
articulation marks, and the lack of consistent application can be confusing
26
Example 19a, Garibaldi Foi Á Misa, choral version mm. 1-3.
Example 19b, Garibaldi Foi Á Misa, piano version mm. 1-4.
In many pieces, accents and staccatos are written above every note. This practice
creates a rather busy score appearance. In this edition, repetitive articulations that occur
throughout the piece have been eliminated. Two measures will indicate the type of
articulation followed by “simile” (ex. 20).
Example 20, Garibaldi Foi Á Misa, mm. 5-8.
27
In many cases, Villa-Lobos combines two different kinds of articulation with the
purpose of indicating the melody and an accent (ex. 21).
Example 21, Sehora Dona Viuva, mm. 1-5.
Articulation marks including staccatos and sforzandos (sfz) are used inconsistently. In
many cases, Villa-Lobos combines, mixes, or interchanges these marks in subsequent
occurrences of identical passages for no documented musical reason.
Villa-Lobos did not indicate his own pedal markings; however, he often used
disconnected slurs on pedal tones. Therefore, these should be read as a suggestion for
pedal or resonance (ex. 21).
Example 21, A Condesa, mm. 47-50.
28
For this edition, the editor has used a catalog system based on the album and piece
numbers: Album 1, No. 1.
All editorial markings will appear in parentheses.
Each piece will include the texts from the Guia Prático along with their English
translations. The texts from Albums 1 to 9 have been taken from NAXOS. 1
1
Permission to include the texts was obtained from the label NAXOS for the purpose of this dissertation.
Randall Foster, e-mail to author, May 12, 2009.
29
GUIA PRÁTICO FOR PIANO
ALBUM 1
HEITOR VILLA-LOBOS
30
ACORDEI DE MADRUGADA
Album 1, No.1 H. VILLA-LOBOS
Rio, 1932
Acordei de madrugada I woke up very early
Acordei de madrugada I woke up very early
Fui varrer a Conceição, to sweep the Conceição church,
Encontrei Nossa Senhora, and there I found Our Lady
Com seu raminho na mão. with a little sprig in Her hand.
Eu pedi-lhe o seu raminho, I asked Her for the sprig,
Ela me disse que não; but She said “no”;
Eu tornei a lhe pedir I asked for it again
Ela deu-me o seu cordão; and She gave me a cord instead.
O cordão de sete voltas The seven-turned cord
Que traspassa o coração that binds Her heart;
O cordão de sete voltas the seven-turned cord
Que traspassa o coração. that binds Her heart.
Santo Antonio, São Francisco, St. Anthony, St. Francis,
Desatai este cordão, please untie this cord,
Que me deu Nossa Senhora which Our Lady gave me
Com a sua benta mão! with Her blessed hand!
1)
Moderato
2) 3
O canto
1) CV tempo mark quarter note = 60. CMP: eight note = 92
2) m. 2, tenuto mark ommited in CV.
31
ACORDEI DE MADRUGADA
5
3
bem saliente e expressivo
simile
9
1) 3
13
3
1) mm. 9-12, tenuto marks omited in CV and CMP.
32
ACORDEI DE MADRUGADA
1.
17
2.
21
dim. pouco a pouco- - - - - - - -
3
29
GUIA PRÁTICO FOR PIANO
ALBUM 1
HEITOR VILLA-LOBOS
30
ACORDEI DE MADRUGADA
Album 1, No.1 H. VILLA-LOBOS
Rio, 1932
Acordei de madrugada I woke up very early
Acordei de madrugada I woke up very early
Fui varrer a Conceição, to sweep the Conceição church,
Encontrei Nossa Senhora, and there I found Our Lady
Com seu raminho na mão. with a little sprig in Her hand.
Eu pedi-lhe o seu raminho, I asked Her for the sprig,
Ela me disse que não; but She said “no”;
Eu tornei a lhe pedir I asked for it again
Ela deu-me o seu cordão; and She gave me a cord instead.
O cordão de sete voltas The seven-turned cord
Que traspassa o coração that binds Her heart;
O cordão de sete voltas the seven-turned cord
Que traspassa o coração. that binds Her heart.
Santo Antonio, São Francisco, St. Anthony, St. Francis,
Desatai este cordão, please untie this cord,
Que me deu Nossa Senhora which Our Lady gave me
Com a sua benta mão! with Her blessed hand!
1)
Moderato
2) 3
O canto
1) CV tempo mark quarter note=60. CMP: eight note=92
2) m. 2, tenuto mark ommited in CV.
31
ACORDEI DE MADRUGADA
5
3
bem saliente e expressivo
simile
9
1) 3
13
3
1) mm. 9-12, tenuto marks omited in CV and CMP.
32
ACORDEI DE MADRUGADA
1.
17
2.
21
dim. pouco a pouco- - - - - - - -
3
33
A MARE ENCHEU
Album 1, No. 2 H. VILLA-LOBOS
Rio, 1932
A Maré Encheu The tide flowed
A maré encheu The tide flowed
A maré vasou the tide ebbed;
Os cabelos da morena the hair of the beautiful brunette
o riacho carregou. were carried away by the brook.
Sete sete são quatorze Seven plus seven makes fourteen
Três vez sete vinte um three times seven, twenty-one
Tenho sete namorados I have seven sweethearts,
Só faço caso de um. but I care only for one.
Em cima daquela serra At the top of that hill
Tem um velho gaioleiro there is an old man who makes birdcages;
Quando vê moça solteira when he sees a beautiful maiden
Faz gaiola sem ponteiro. he even forgets to put in the perch.
Poco moderato
3
3
5
expressivo 3
34
A MARE ENCHEU
1.
9
(Andante )
m.g.
2.
13
16
35
A MARE ENCHEU
19
D.C.
22
poco rall.
36
A ROSEIRA
Album 1, No. 3 H. VILLA-LOBOS
Rio, 1932
A Roseira The Rosebush
A mão direita tem uma roseira The right hand has a rosebush
A mão direita tem uma roseira the right hand has a rosebush
Que dá flor na primavera. that blooms in the spring
Que dá flor na primavera. that blooms in the spring.
Entrai na roda, ó linda roseira, Come inside the circle, O beautiful rosebush,
Entrai na roda, ó linda roseira, como inside the circle, O beautiful rosebush,
E abraçai a mais faceira! and hug the prettiest girl!
E abraçai a mais faceira! and hug the prettiest girl!
Allegro non troppo
1)
sempre muito ritmado
2)
3
simile
1) m. 1, CV and CMP have a subdivision of each measure after the third beat.
2) m. 1, sfz in the left hand are misplaced in CV and CMP.
37
A ROSEIRA
6
9
12
dim. poco a poco sem rall.
15
38
MANQUINA
Album 1, No. 4 H. VILLA-LOBOS
Rio, 1932
Manquinha The little limping girl
Onde vais bela manquinha Goi!Goi! Goi! Where are you going, little limping girl, Goi! Goi! Goi!
Vou passear na floresta Goi! Goi! Goi! I’m going to the forest, Goi! Goi! Goi!
Bis Bis
Que fazes na floresta? Goi! Goi! Goi! Goi! Goi! What are you going to do there? Goi! Goi! Goi!
Apanhar as lindas flores Goi! Goi! Goi! Goi! I’m going to get beautiful flowers Goi! Goi! Goi!
Bis Bis
Para quem são estas flores? Goi! Goi! Goi! Goi! Flowers for whom? Goi! Goi! Goi!
Para enfeitar nossas cabeças Goi! Goi! Goi! Goi! Just to decorate our heads, Goi! Goi! Goi!
Goi! Goi! Ah! Goi! Goi! Ah
Andante moderato
poco rall.
1) 2)
6
Na 2a. pp rall.
1) m. 3, C in the CMP.
2) m. 4, D in the CMP.
39
MANQUINA
11 1. 2.
rall. rall.
15
e grandioso
21
1. 2.
27
rall.
40
MANQUINA
31
rall.
dim. poco a poco
41
NA CORDA DA VIOLA
Album 1, No. 5 H. VILLA-LOBOS
Rio, 1932
Na Corda Da Viola On the string of the guitar
Na corda da viola On the string of the guitar
Todo o mundo bate; everyone plays.
Bis Bis
As costureiras fazem assim... The seamstresses do like this...
Os carpinteiros fazem assim... The carpenters do like this...
Os marcineiros fazem assim... The cabinet-makers do like this..
Poco animato
simile
4
42
NA CORDA DA VIOLA
8
12
16
43
NA CORDA DA VIOLA
20
24
28
44
NA CORDA DA VIOLA
Meno ( )
33
extremamente ritmado
37
simile
3 3
3
3
3
40
3
3
3
simile
45
NA CORDA DA VIOLA
43
3
3
46
3 3
3 3
49
3
3 3
3
46
NA CORDA DA VIOLA
52
55
animato e cresc. poco a poco
a tempo
58
47
NA CORDA DA VIOLA
61
65
69
poco allarg.
48
NA CORDA DA VIOLA
7
74
animato
12
74
3
49
GUIA PRÁTICO FOR PIANO
ALBUM 2
HEITOR VILLA-LOBOS
50
BRINQUEDO
Album 2, No. 1 H. VILLA-LOBOS
Rio, 1932
Brinquedo Play
Olhe aquela menina como vem tão longe See that girl, who comes from far away
Perto da nossa terra magerão! dão! dão. to our own land, “magerão! dão! dão!”
Olhe aquela menina como vem tão longe See that girl, who comes from far away
Perto da nossa terra magequi perdi. to our own land, “magequi perdi”.
Allegro
1)
6
simile
11
1) m. 3, introduction in CV omits mm. 3-4.
51
BRINQUEDO
16
21
26
52
BRINQUEDO
31
36
40
allarg.
53
MACHADINHA
Album 2, No. 2 H. VILLA-LOBOS
Rio, 1932
Machadinha Little Axe
Ah! Ah! Ah! minha machadinha Ah! Ah! Ah! my little axe
Ah! Ah! Ah! minha machadinha Ah! Ah! Ah! my little axe
Quem te poz a mão sabendo que és minha Who dared to touch you knowing you are mine,
Quem te poz a mão sabendo que és minha. who dared to touch you knowing you are mine?
Si tu és minha eu também sou tua If you are mine, I am yours,
Si tu és minha eu também sou tua if you are mine, I am yours.
Pula machadinha para o meio da rua Jump, little axe, to the middle of the street,
Pula machadinha para o meio da rua. jump, little axe, to the middle of the street.
Allegretto quasi Andante
rall.
5
9
54
MACHADINHA
14
a Tempo
18
rall.
23
27
rall.
55
ESPANHA
Album 2, No. 3 H. VILLA-LOBOS
Rio, 1932
Espanha Spain
Eu fui a Espanha I went to Spain
Buscar o meu chapeu, to get my hat back,
Branco e azul which is white and blue,
Da côr daquele céu. the color of that sky over there.
Vivam nossa férias, Hurrah! We are on vacation,
Colegios acabados, school is over.
Vamos para casa Let’s go home
Comer a goiabada. and eat guava paste.
Foge, foge, foge. Run, run, run.
Que eu já te avistei; I’ve already seen you;
Foge, foge, foge Run, run, run.
Que eu já te apanhei. I’ve already caught you.
Vivace
6
1)
1) m. 8, sttacatos omited in the bass part in MMP.
56
ESPANHA
11
16
21
57
ESPANHA
26
31
36
58
ESPANHA
1)
41
1) m. 44, fermata omited in CV and MMP.
59
SAMBA-LÊLÊ
Album 2, No. 4 H. VILLA-LOBOS
Rio, 1932
Samba-lêlê Samba-lêlê
Samba lêlê está doente, Samba-lêlê is sick,
Está com a cabeça quebrada. he is sick in his head.
Samba lêlê precisava What Samba-lêlê needs
De umas dezoito lambadas. is a good flogging.
Samba! Samba! Samba! Oh! lê lê! Samba! Samba! Samba! Oh! lê! lê!
Pisa na barra da saia, oh! lê lê! Step on the hem of the skirt, oh! lê! ê!
Bis Bis
Oh!... mulata bonita Oh!... Beautiful mulatta
Onde é que você mora? where do you live?
Moro na Praia Formosa I live in Formosa Beach
E... daqui vou embora. And... I’m leaving now.
Samba!... Samba!...
Poco lento
1)
4
2)
1) 2/4 Time signature in CV.
2) m. 6-10, omited in CV.
60
SAMBA-LÊLÊ
7
10
13
16
61
SAMBA-LÊLÊ
19
1)
22
25
28
1) m. 21-22, articulations omited in CV and MMP.
62
SAMBA-LÊLÊ
31
34
37
40
63
SAMBA-LÊLÊ
43
46
49
52
rall.
64
SENHORA DONA VIUVA
Album 2, No. 5 H. VILLA-LOBOS
Rio, 1932
Senhora Dona Viuva Mrs. Widow
Senhora dona viuva Mrs. Widow,
com quem você quer casar, quer casar. whom you want to marry now?
È com o filho do rei Either the king’s son,
ou com o senhor general, general. or a general, a general.
Bis Bis
Vem cá meu bemzinho quero te abraçar, Come here, sweetheart, I want to hug you,
Amores ausentes quero te contar. and tell you about absent loves.
Bis Bis
Eu não quero este homem I don’t want this man,
porque não nasceu para mim, para mim. because he wasn’t born for me, for me.
Eu sou uma pobre viuva, I am a poor widow,
triste coitada de mim, mim. poor me, poor me.
Bis Bis
Vivo
Mto. de Tarantela 162
1)
5
1) m. 3, sffz original mark in CV and MMP.
65
SENHORA DONA VIUDA
9
14
1)
20
26
1) m. 16, accent omited in CV and MMP.
66
SENHORA DONA VIUDA
31
35
40
45
67
SENHORA DONA VIUDA
49
52 gliss.
gliss.
68
GUIA PRÁTICO FOR PIANO
ALBUM 3
HEITOR VILLA-LOBOS
69
O PASTORZINHO
Album 3, No. 1 H. VILLA-LOBOS
Rio, 1932
O Pastorzinho The Little Sheperd
Havia um pastorzinho There was a little shepherd
Que andava a pastorar, who herded sheep all day.
Sahiu de sua casa He left his home
E poz-se a cantar! and started singing!
Fa! Sol! La! Si! Si! Si! Fa ! Sol ! La ! Si ! Si ! Si !
Fa! Sol! Fa! Sol! Sol! Sol! Fa ! Sol ! Fa ! Sol ! Sol ! Sol !
Fa! Do! Si! La! La! La! Fa ! Do ! Si ! La ! La ! La !
Fa! Sol! La! Si! Si! Si! Fa ! Sol ! La ! Si ! Si ! Si !
Chegando ao palacio When he came to the castle
A rainha lhe falou the Queen spoke to him,
Contando ao pastorzinho and told the little shepherd
Que seu canto lhe agradou how she enjoyed his singing.
Fa! Sol! La! Si! Si! Si ! etc. Fa ! Sol ! La ! Si ! Si ! Si !, etc.
1)
Molto animato 144
2)
8
4)
3)
1) m. 3, upper voice ommited in CV.
2) m. 5, first 16th note has no slur in CV or MEE. The editor consider it necesary due the tempo mark.
3) m. 10, sf omited in CV. Tenuto mark instead of accent in MEE.
4) mm. 11-18, omited in CV.
70
O Pastorzihno
15
1)
22
2)
29
3)
36
4)
1) m. 18, tenuto mark omited in MEE. sf mark only in MEE.
2) m. 22, sf mark only in MEE.
3) m. 28, accents omited in MEE.
4) m. 42, sf mark only in MEE.
71
O Pastorzihno
43
50
1)
57
64
3
1) m. 54, sf mark only in MEE.
72
JOÃO CAMBUÊTE
Album 3, No. 2 H. VILLA-LOBOS
Rio, 1932
João Cambuête João Cambuête
João, dão João ! João, dão João !
João, dão João ! João, dão João !
João Cambuête, meu filho, João Cambuête, my son,
Toma lá tua pêta, meu filho, Take your pacifier, my son,
Êh! dão João! Eh! dão João!
João! dão Joaõ! João! dão João!
Êh Eh!
Acalante 54
(Andante)
5
1)
5
1) mm. 5-8 omited in CV.
73
JOÃO CAMBUÊTE
9
3 3 3 3 3
9
13
3 3
13
74
JOÃO CAMBUÊTE
17
3 3
17 3
21
3
3
21
75
A FREIRA
Album 3, No. 3 H. VILLA-LOBOS
Rio, 1932
A Freira The Nun
Pedi o rosario a freira; I asked the nun for the rosary,
Ella me disse que não; she said “no”!
Eu tornei a lh’o pedir; I asked for it again,
Ela me deu seu cordão. and she gave me her robe cord.
Tempo di Mazurka
1)
7
7
2)
13
1) mm. 4-5 omited in CV
2) mm. 12-15, staccatos in all beats in EME.
76
A FREIRA
19
25
7
( )
31
37
7
( )
77
43 A FREIRA
78
GARIBALDI FOI A MISSA
Album 3, No. 4 H. VILLA-LOBOS
Rio, 1932
Garibaldi Foi À Missa Garibaldi went to Mass
Garibaldi foi à missa Garibaldi went to Mass
No cavalo sem esporas; on a horse without spurs;
O cavalo tropeçou, The horse tripped over,
Garibaldi lá ficou. and Garibaldi was stuck.
Bis Bis
Animato
4
simile
7
79
GARIBALDI FOI A MISSA
10
7
m.g.
13
7 7
16
3
3
19
80
GARIBALDI FOI A MISSA
22
25
28
7
m.g.
31
7 7
81
GARIBALDI FOI A MISSA
34
3
3
37
3 3
40
3
3
82
0' PIÃO
Album 3, No. 5 H. VILLA-LOBOS
Rio, 1932
Ó Pião The whirligig
Sapateia no tesouro, Ó pião, Spin all over, whirligig
Sapateia no tesouro, Ó pião, spin all over, whirligig,
Rodai, ó pião. spin around, whirligig.
Bambeia, ó pião. swing around, whirligig.
Bis Bis
Sapateia, ó pião, Swirl all over, whirligig,
Pião! Bambeia ó Pião! Swing around, whirligig
Mov. de March lent
Piano
poco
rall.
4 a tempo
1)
2)
1) m. 4, accent marks indicate melody mainly.
2) m. 8, accent marks omited in CV and MEE
83
0' PIÃO
9
14
1)
19
84
0' PIÃO
24
1)
7
24
6
29
cresc.
29
1) m. 28, accent omited in CV and MEE.
85
0' PIÃO
34
34
38
6
86
GUIA PRÁTICO FOR PIANO
ALBUM 4
HEITOR VILLA-LOBOS
87
O POBRE o e RICO
Album 4, No. 1 H. VILLA-LOBOS
Rio, 1932
O Pobre e o Rico The Pauper and the Rich
Eu sou rico, rico, rico, Demarré! Marré! Marré! I am rich, rich, rich, Demarré! Marré! Marré!
Eu sou pobre, pobre, pobre, Demarré! I am poor, poor, poor, Demarré!
Marré! Marré! Marré! Marré!
Eu sou rico, rico, rico, Demarré de Cy I am rich, rich, rich, Demarré de Cy
Dai uma de suas filhas, Demarré! Marré! Marré! Give me one of your daughters Demarré! Marré!
Escolhei a que quizer De, Demarré de Cy! Choose one Demarré de Cy.
Bis Bis
Allegro
1)
simile
2)
3
3
3
1) CV has staccatos from the beginning. MEE indicates staccatos starting on m. 1.
2) m. 2, dynamics originally place under middle voice.
88
O POBRE o e RICO
6
1)
rall. a Tempo
10
3
13
2)
3
1) mm. 6-7, tempo alterations only in MEE.
2) m. 14, sffz in MEE. CV only indicates sffz.
89
O POBRE o e RICO
16
1)
19
rall.
1) m. 20, accent mark only in MEE.
90
ROSA AMARELA
Album 4, No. 2 H. VILLA-LOBOS
Rio, 1932
Rosa Amarela Yellow Rose
Olh’a rosa amarela, Rosa Look at the yellow rose, Rose
tão bonita e tão bela, Rosa so beautiful and lovely, Rose
Bis Bis
Yayá! Meu lenço, ô Yayá! Yayá! My kerchief, oh Yayá!
Para m’enxugar, ô Yayá! To dry my tears, oh Yayá!
Esta despedida, ô Yayá! This goodbye, oh Yayá!
Já me faz chorar, ô Yayá! Is making me cry, oh Yayá!
Bis Bis
1)
Poco moderato
Piano
5
2) 3)
1) Quarter note = 72 in MEE, 120 in CV.
2) m. 5, upper notes are in MEE only.
3) m. 7, sffz and accent originally.
91
ROSA AMARELA
10
15
20
25
92
ROSA AMARELA
30
34
rall.
93
OLHA O PASSARINHO, DOMINÉ!
Album 4, No. 3 H. VILLA-LOBOS
Rio, 1932
Olha O Passarinho Dominé! Look At the Little Bird Dominé!
Olha o passarinho, Dominé Look at the little bird, Dominé
Cahiu no laço, Dominé He fell in the trap, Dominé
Da-me um beijinho, Dominé Give me a little kiss, Dominé
Da-me um abraço, Dominé Give me a hug, Dominé
Por esta rua, Dominé Through this street, Dominé
Passeiou meu bem, Dominé My love went by, Dominé
Será por mim, Dominé Was it for me, Dominé
Ou por mais alguem, Dominé! Or for someone else, Dominé!
1)
Allegro non troppo
6
3 6
3
2) 3)
3
1) Quarter note = 120 in CV
2) m. 1, slur mark from CV
3) m. 2, melodic line between m. 1 and 2 omited.
94
OLHA O PASSARINHO, DOMINÉ!
6
6 6
6 6
3
3 3
3
8
12
16
95
OLHA O PASSARINHO, DOMINÉ!
20
24 1)
2)
Prestissimo
3)
1) m. 26, slur continues to the next note in CV.
2) m. 26, placement of dynamics and tempo change differ in both MEE and CV.
3) m. 27, no sttacatos in mm. 26-27 in CV.
96
O GATO
Album 4, No. 4 H. VILLA-LOBOS
Rio, 1932
O Gato The Cat
Atirei um pau no gato, to! I threw a stick at the cat,
Mas o gato não morreu, reu, reu, but the cat did not die.
Nha Chica, ca admirou-se, se Miss Chica was surprised
Do berro que o gato deu. at how much the cat screamed.
Ah! Ah!
1)
Andantino quasi allegretto
4)
2)
3)
poco rall.
simile
a tempo
13
1) Quarter note = 100 in MEE and 104 in CV
2) mm. 1-2, written using only quarter notes without accents in CV
3) m. 1, tenuto mark only in CV
4) m. 6, repetition mark only in MEE
97
O GATO
19
25
3)
31
dim. poco a poco 1) 2)
4)
1) m. 34, tempo change only in MEEM. 35, slurs are not written in the piano part of the CV.
2) m. 35, slurs are not written in the piano part of the CV.
3) m. 36, grito (scream) in CV.
4) m. 36, Sttacato marks from CV. Necesary for "grito" character.
98
O'SIM
Album 4, No. 5
H. VILLA-LOBOS
Rio, 1932
Ó Sim! Oh Yes!
O papai e a mamãe a capellinha vão Daddy and Mommy go to the little church
Oh! Sim. Oh! Sim Oh! Yes. Oh! Yes.
Si dinheiro não tiverem outros o terão. If they don’t have money, others surely do.
Oh! Sim. Oh! Sim. Oh! Yes. Oh! Yes.
Tralala tralala tralalalalalala Tralala tralala tralalalalalala
Tralala tralala tralalalalalala Tralala tralala tralalalalalala
Oh! Sim. Oh! Sim. Oh! Yes. Oh! Yes
Tralala, etc. Tralala, etc.
Allegro 144
2
4
99
O'SIM
6
8
10
12
100
O'SIM
14
16
18
20
101
GUIA PRÁTICO FOR PIANO
ALBUM 5
HEITOR VILLA-LOBOS
102
OS POMBINHOS
Album 5, No. 1 H. VILLA-LOBOS
Rio. 1932
Os Pombinhos The Little Doves
Rola a pombinha The little she-dove coos
Lá no telhado, there in the roof,
Bis Bis
Vem o pombinho There comes the little he-dove
Põe-se de lado. to stay by her side.
Bis Bis
Tempo de Mazurka 160
5 2)
1)
rall. a tempo 3)
simile
10
1) m. 5, tempo change only in MEE
2) mm. 5-7, sttacattos from CV.
3) m. 7, dynamic marks from MEE.
103
OS POMBINHOS
15
1)
20
2)
25
accel. poco a poco 3)
1) mm. 23-24, sttacattos only in CV and MEE.
2) m. 23, dynamic mark from MEE
3) m. 25, tempo alteration from MEE.
104
VOCE DIZ QUE SABE TUDO
Album 5, No. 2 H. VILLA-LOBOS
Rio, 1932
Você Diz Que Sabe Tudo You Say You Know Everything
Você diz que sabe tudo You say you know everything
Mas não sabe namorar but you don’t know how to court
Quero que você me diga, oh! lêlê! I want you to tell me, oh! lêlê!
Quantos peixes tem o mar. how many fishes there are in the sea.
Bis Bis
Quantos peixes tem o mar! How many fishes there are in the sea!
Eu não posso te dizer I cannot tell you
Que o mar é muito grande, oh! lêlê! ‘Cause the sea is too big, oh! lêlê!
Tenho medo de morrer. I am afraid to die.
Bis Bis
Moderato
1)
Lento
affret.
rall. 2)
4
3)
rall.
1) 2/4 in CV.
2) mm. 3-7, articulations are inconsistent in MEE and CV.
3) mm. 5-4 omited in CV.
105
VOCE DIZ QUE SABE TUDO
1)
8
Vagaroso
12
16
19
1) m. 9, Vagaroso: calm
106
VOCE DIZ QUE SABE TUDO
23
27
30
107
CÓ, CÓ, CÓ!
Album 5, No. 3 H. VILLA-LOBOS
Rio, 1932
Có, Có, Có! Có, Có, Có!
Fulana é baixinha, có có có! So-and-So is very short, có có có!
Arrasta a saia pela lama, có có có! She drags her skirt in the mud, có có có!
Ela é meu bem, She is my love,
Ela é meu bem, She is my love,
Se ela morrer If she dies
Eu fico sem ninguem. I will remain alone.
Bis Bis
Mov. de Marcha de Rancho (132)
3
6
simile
108
CÓ. CÓ. CÓ
8
10
12
14
109
CÓ. CÓ. CÓ
16
18
21
24
110
CÓ. CÓ. CÓ
27
30
32
rall.
35
111
O BASTÁO OU MIA GATO
Album 5, No. 4 H. VILLA-LOBOS
Rio, 1932
O Bastão ou Mia Gato The Stick or Cat Miow
Nesta rua tem um bosque In this street there is a garden
Que se chama escuridão That is called darkness
Dentro dele mora um anjo In it there is an angel
Que roubou meu coração. That stole my heart.
Si eu roubei teu coração, If I stole your heart
Tu roubaste o meu tambem; You stole mine too;
Si eu roubei teu coração, If I stole your heart,
É porque te quero bem. It is because I love you.
Andante quasi Andantino 54
1)
2)
4
simile 3)
1) m. 2, accent omited in MS and MEE.
2) m. 4, Ibid.
3) m. 4 Villa-Lobos wrote accents in all bass notes except in mm. 5-6.
112
O BASTÁO OU MIA GATO
7
10
2)
13 1)
16
1) m. 13, Villa-Lobos did not write the upper octave in this measure. However, it is included in the MEE.
2) m. 14, accent ommitted in the MS and CV.
113
O BASTÁO OU MIA GATO
19
22
24
114
A CONDESSA
Album 5, No. 5 H. VILLA-LOBOS
Rio, 1932
A Condessa The Countess
Oh! Condessa oh! Condessinha, Oh! Countess oh! little Countess,
Oh! Condessa d’Aragão! Oh! Countess from Aragon!
Bis Bis
Venho pedir uma filha I come to ask for the hand of one of your daughters
De bonitas que ellas são. ‘Cause they are so beautiful.
Bis Bis
Eu sou viuvinha, I am a little widow,
Da parte d’além, From far away,
Quero casar I want to get married
Não acho com quem; I do not find a partner;
Só comtigo, só comtigo, só comtigo, Only with you, only with you, only with you,
Meu bem. My darling.
(Cavalheiro) (Gentlement)
Onde mora (la) Condessa Where does la Countess live
De lingua de França e dor de lanceta? Who speaks French and has a lancet wound?
(Condessa) (Countess)
Que quereis com la Condessa What do you want from la Countess
De lingua de França e dor de lanceta? Who speaks French and has a lancet wound?
Bis Bis
Onde mora la Condessa Where does la Countess live
De lingua de França e dor de lanceta? Who speaks French and has a lancet wound?
Bis Bis
Andante
115
A CONDESSA
5
10
1)
15 Allegro
rit.
2)
20
1) m. 13, dynamic mark from MEE.
2) m. 16, tempo change from MEE.
116
A CONDESSA
Poco Allegretto e molto Ritmado
25
30
35
40
117
A CONDESSA
45
1)
6
Presto
50
cres. sempre
55
accel. poco a poco
60
1) mm. 45-50, includes more accents following the previs pattern in MEE.
118
A CONDESSA
65
cres.
70
Poco Allegretto e molto Ritmado
75
80
119
A CONDESSA
85
90
6
Presto
95
100
cres. sempre
120
A CONDESSA
105
accel. poco a poco
109
112
cres.
121
GUIA PRÁTICO FOR PIANO
ALBUM 6
HEITOR VILLA-LOBOS
122
SONHNO DE UMA CRIANCA
Album 6, No. 1 H. VILLA-LOBOS
Rio, 1932
Sonho De Uma Creança Child’s Dream
Mamãi, eu tenho um segredo Mommy, I have a secret
Que vou contar amanhã, which I will tell you tomorrow,
É lindo como são lindos it is as beautiful
Os olhos de minha irmã. as my sister’s eyes.
É lindo como as folhinhas It is as beautiful as the little leaves
Da bela flor da romã, as the beautiful pomegranate flower,
Mamãi, eu hoje não digo Mommy, I will not tell you today
Mas eu direi amanhã but I will tell you tomorrow.
Contai-me, oh filha querida, Tell me, oh dear daughter,
De contar não tenhas medo, do not be afraid to tell me,
Eu prometo hei de guardar I promise I will keep
O teu bonito segredo. your beautiful secret.
Mamãi, vóvó já me disse Mommy, grandma told me
Que os sonhos que a gente tem that the dreams we have
Para tornar-se em verdade can become reality
Não se dizem a ninguem. if we don’t tell anyone.
Pois bem, eu vou esperar, So be it, I will wait,
Contrariada talvez, displeased, maybe,
Até que possas contar until you can tell me
O teu segredo outra vez; your secret;
--Mamãi, mamãi, dai-me agua, --Mommy, mommy, give me water,
Oh! meu Deus, que sêde eu tenho! Oh! God, I am so thirsty!
Mamãi, que doce gostoso Mommy, what a lovely sweet
Comi no céo, donde venho. I ate in heaven, where I come from.
--Porque tu não me trouxeste --Why did you not bring me
Ao menos uma fatia, at least a piece,
Do doce que comeste of the sweet you ate
Dos anjos em companhia? in company of the angels?
--Eu disse a Papai do Céo --I told Father who is in Heaven
Na terra não quero ir. to earth I do not want to go.
Ele sorrindo me disse: He told me smiling:
Vai ver si mamãi quer vir. go see if mommy wants to come.
123
SONHNO DE UMA CRIANCA
Movimento de Minueto 126
6
a tempo
rall.
12
1)
19
1) Dynamic mark from mm. 11 - 41 from MMC.
124
SONHNO DE UMA CRIANCA
25
31
37
a tempo
43
poco rall.
125
O CORCUNDA
Album 6, No. 2 H. VILLA-LOBOS
Rio, 1932
O Corcunda The Hunchback
Eu sou corcunda I am a hunchback
Mais tenho dinheiro, but I have money,
Por causa de moças because of girls
Não morro solteiro I won’t die alone.
Quando o corcunda When the hunchback
Sahiu de anquinhas, went out with hoops,
As moças das janelas the girls in the windows
Soltaram bombinhas. threw little bombs
Eu sou corcunda, etc. I am a hunchback, etc.
Quando o corcunda When the hunchback
Sahiu de lunetas, went out with eyeglasses,
As moças das janelas the girls in the windows
Fizeram carêtas made faces
Eu sou corcunda, etc. I am a hunchback, etc.
Quando o corcunda When the hunchback
Sahiu de colete went out with a vest
As moças das janelas the girls in the windows
Soltaram foguetes. threw rockets.
Eu sou corcunda, etc. I am a hunchback, etc.
Si sou corcunda If I am a hunchback
Devo ao meu irmão, it is because of my brother,
Tirou-me da cama, he got me out of bed,
Jogou-me no chão. he threw me on the floor.
Eu sou corcunda, etc. I am a hunchback, etc.
Eu sou corcunda I am a hunchback
Mas tenho desembaraço, but I am outgoing,
Carrego minha trouxa I take my bundle of clothes
Debaixo do braço. under my arms
126
O CORCUNDA
Andantino calmo 104
6
11
16
127
O CORCUNDA
21
25
3
128
CARANGUEIJO
Album 6, No. 3 (1a versao) H. VILLA-LOBOS
Rio, 1932
Caranguejo Crab
Caranguejo não é peixe Crab is no fish
Caranguejo peixe é; Crab is a fish;
Caranguejo não é peixe Crab is no fish
Na vasante da maré. In the ebbing tide.
Palma, palma, palma! Clap, clap clap!
Pé, pé, pé! Foot, foot, foot!
Caranguejo só é peixe Crab is fish only
Na enchente da maré! In the flowing tide!
Bis Bis
1)
Allegro
2)
7
3)
1) MME, quarter note = 120. CV, quarter note = 144.
2) m. 6, slur only in MME.
3) m. 8, accents omited in CV, except mm. 5-7.
129
CARABGUEIJO (1a versao)
13
19
1)
2)
25
31
rall.
1) m. 22, accents marks from MME.
2) m. 25, accents omited in the first beat of the measure in MEE.
130
CARABGUEIJO (1a versao)
37
a tempo
43
49
55
131
CARABGUEIJO (1a versao)
61
rall.
65
132
A POMBINHA VOOU
Album 6, No. 4 H. VILLA-LOBOS
Rio, 1932
A Pombinha Voou The Little Dove Flew Away
Maria, quando tu fores, Mary, when you leave,
Me escreva lá do caminho; write to me from there;
Si não tiveres papel If you don’t have paper,
Nas asas dum passarinho write in the wings of a little bird
Bis Bis
A pombinha voou sem dó! The little she-dove flew away without pity!
A Maria foi-se embora e me deixou! Mary went away and left me!
Bis Bis
Andante 152
5
133
A POMBINHA VOOU
10
15
20
rall.
1)
Andante 152
25
a tempo
1) m. 26, tempo mark appears only in the CV.
134
A POMBINHA VOOU
33
rall.
a tempo
39
44
135
VAMOS ATRAZ DA SERRA,
OH! CALUNGA
Album 6, No. 5 H. VILLA-LOBOS
Rio, 1932
Vamos Atraz da Serra, Oh! Calunga! Let’s Go Behind the Mountain, Oh! Calunga!
Vamos atraz da serra, oh! Calunga! Let’s go behind the mountain, oh! Calunga!
Ver a mulatinha, oh! Calunga! To see the little mulatta, oh! Calunga!
Da saia queimada, oh! Calunga! With the burnt skirt, oh! Calunga!
Quem foi que queimou, oh! Calunga! Who burned it, oh! Calunga!
Foi a Fulana It was So and so
Poco animato 100-108
4
poco rall.
3 3
rit. accel. poco a poco1)
9
1) m. 7, tempo change in MMC.
136
VAMOS ATRAZ DA SERRA, OH! CALUNGA!
14
19
24 3 3 3 3
3 3 3 3
28 3
3
137
VAMOS ATRAZ DA SERRA, OH! CALUNGA!
33
poco rall.
3 3
rit.
38
43 3 3
3 3
48 3 3
3
3 3 3
138
GUIA PRÁTICO FOR PIANO
ALBUM 7
HEITOR VILLA-LOBOS
139
NO FUNDO DO MEU QUINTAL
Album 7, No. 1 H. VILLA-LOBOS
Rio, 1932
No Fundo Do Meu Quintal In My Backyard
No fundo do meu quintal In my backyard
Encontrei a Mariquinha I found Mariquinha
Apanhando lindas flores, gathering beautiful flowers,
Lindas flores pr’a me dar. beautiful flowers to give me.
Bis Bis
Lindas flores pr’o casamento; Beautiful flowers for the wedding;
Mariquinha vai se casar; Mariquinha is getting married;
Mariquinha deixe disso; Mariquinha stop that;
Deixe disso, olhe lá! Stop that, watch out!
100
Poco moderato
5
1)
1) m. 5, dynamic mark from MMC.
140
NO FUNDO DO MEU QUINTAL
10
15
20
25
141
NO FUNDO DO MEU QUINTAL
30
34
rall.
142
VAI, ABÓBORA
Album 7, No. 2 H. VILLA-LOBOS
Rio, 1932
Vai Abóbora Some Pumpkin
Vai abóbora! Vai melão! Some pumpkin! Some melon!
Vai melão! Vai melancia! Some melon! Some watermelon!
Vai jambo! Sinhá! Some jambo (Brazilian fruit)! Miss!
Vai jambo! Sinhá! Some jambo! Miss!
Vai jambo! Sinhá meu doce! Some jambo! Miss, my sweet!
Senhora Dona F.... Miss So and So
Entre nesta roda agora; Go in the circle now;
Diga um verso bem bonito Say a beautiful verse
Diga adeus e vá se embora. Say goodbye and leave.
Allegro 126
1)
4
1) m. 1, dynamic mark from MMC.
143
VAI, ABÓBORA
8
12
16
20
1)
1) m. 23, dynamic mark from MMC.
144
VAI, ABÓBORA
24
28
32
36
145
VAI, ABÓBORA
40
44
146
VAMOS, MARUCA
Album 7, No. 3 H. VILLA-LOBOS
Rio, 1932
Vamos, Maruca Let’s go Maruca
Vamos Maruca, vamos Let’s go Maruca, let’s go
Vamos p’ra Jundiaí Let’s go to Jundiaí
Com os outros vancê vai With the others you go
Comigo vancê não quer ir. but not with me.
1)
Allegro non troppo, espressivo
cresc.2)
4
8
1) Tempo mark in CV: Poco Moderato, half note = 84. Tempo mark in MMC is more accurate
to the character of the piece.
2) m. 2, dynamic mark from MMC.
147
VAMOS, MARUCA
12
3 3
3 3
3
15
19
22
rall.
148
VAMOS, MARUCA
26
3 3 a tempo
3 3
3
29
33
36
rall.
149
OS POMBINHOS
Album 7, No. 4 H. VILLA-LOBOS
Rio, 1932
Os Pombinhos The Little Doves
Rola a pombinha The little she-dove coos
Lá no telhado, there in the roof,
Bis Bis
Vem o pombinho There comes the little he-dove
Põe-se de lado. to stay by her side.
Bis Bis
Tempo di Mazurka 160
5
150
OS POMBINHOS
10
15
20
25
151
OS POMBINHOS
30
35
40
152
ANDA À RODA
Album 7, No. 5 H. VILLA-LOBOS
Rio, 1932
Anda Á Roda Go in the Circle
Anda á roda Go in the circle
Porque quero, Because I want,
Porque quero Because I want
Me casar. To get married.
Pois escolha desta roda So choose from this circle
A moça que lh’agrada, The girl that pleases you,
Esta não me serve. This one is no good,
Esta não me agrada This one I do not like
Só a ti, só a ti Only you, only you
Hei de querer, I want,
Bis Bis
Movimento de Marcha (Imponente) 100
4
1)
1) m. 4, F# instead of G in MMC. Same in m. 28
153
ANDA À RODA
7
10
13
16
154
ANDA À RODA
19
22
25
28
155
ANDA À RODA
31
34
37
cresc.
40
156
ANDA À RODA
43
1)
46
rall.
a tempo
1) m. 44, dynamic mark from MMC.
157
GUIA PRÁTICO FOR PIANO
ALBUM 8
HEITOR VILLA-LOBOS
158
O' LIMÃO
Album 8, No. 1 H. VILLA-LOBOS
Rio, 1932
O' Limão Oh Lemon
Ó limão entrai na roda Oh! limão Oh lemon come in the circle Oh! lemon
Ele anda de mão em mão Oh! limão He goes from hand to hand Oh! lemon
Engana Mané João Oh! limão Cheat on Mané João Oh! lemon
Ele é um bobalhão Oh! limão. He is a fool Oh! Lemon.
Ele foi, ele veio, ele aqui não chegou, He went, he came, he did not show up here,
lá no meio do caminho a princeza tomou. Half way the princess took him.
Não se pode plantar roseira Oh! limão One cannot plant a rose tree Oh! lemon
Em lugar que tem ladeira Oh! limão In a hillside Oh! lemon
Não se pode morar perto Oh! limão One cannot live near Oh! lemon
Dessa gente faladeira Oh! limão These slendering folks Oh! lemon
Ele foi, etc... He went, etc...
Ah! Ah! Ah! Ah!
1)
Allegro vivace 120
7
1) Tempo mark quarter note = 144 in CV.
159
O LIMAO
12
1)
18
24
29
1) m. 15, accents in both voices of the right hand in CV in addition to sf.
CCM includes additionally accent in the left hand.
160
CARAMBOLA
Album 8, No. 2 H. VILLA-LOBOS
Rio, 1932
Carambola Carambola
Eu tambem sou passageira I am also passing by,
Venha me passar; come and let me pass;
Si papai e mamai soubessem If daddy or mommy knew,
Carambola virá já. Carambola would come in a flash.
Ó F... passageira Oh, you who passes by,
Venha me passar; come and let me pass.
Si mamãi e papai soubessem If daddy or mommy knew,
Carambola virá já Carambola would come in a flash.
Allegretto 132
1) 2)
6
1) m. 1, slur between 16th notes everytime this motive is presented in CMP (as in the end of the piece).
2) m. 5, staccatos in the left hand in m. 5, 9-10, 14, 18-19 in CMP.
161
CARAMBOLA
11
16
19
162
POBRE CÉGA
Album 8, No. 3 H. VILLA-LOBOS
Rio, 1932
Pobre Céga Poor Blind One
Minha mãi acorde Mother, wake up
De tanto dormir... from so much sleep...
Venha vêr um cégo vida minha Come see a blind man, my life,
Cantar e pedir. singing and begging.
Si ele canta e péde If he sings and begs
Dá-lhe pão e vinho, give him bread and wine
Mande o pobre cégo vida minha Tell the blind man, my life,
Seguir seu caminho! to be on his way!
Não quero teu pão I do not want your bread
Nem tambem teu vinho, and not your wine either
Quero só que Aninha (vida minha), I only ask that Aninha (my life)
Me ensine o caminho. show me the way.
Ainda mais Aninha, A little more, Aninha,
Mais um bocadinho, A little more,
Eu sou pobre cégo (vida minha) I am a poor blind man (my life)
Não vejo o caminho. I cannot see the way.
1)
Moderato
2)
5
3)
5)
4)
1) Tempo mark quarter note = 76 in CV.
2) m. 1, single notes in the lower part in CV.
3) m. 5, eight notes in CV.
4) m. 6, half note in C in CV.
5) m. 7, eight notes in CV.
163
POBRE CEGA
9
1)
13
16
rall.
2)
1) m. 9, dynamic marks only in CMP.
2) mm. 16-17 written only in CMP.
164
PAI FRANCISCO
Album 8, No. 4 H. VILLA-LOBOS
Rio, 1932
Pai Francisco Father Francisco
Pai Francisco entra na roda, Father Francisco come in the circle
Tocando seu violão, playing your guitar,
Dararão! dão! dão! dão!... Dararão! dão! dão! dão!...
Vem de lá Seu delegado, Here come Mister police officer,
E pai Francisco vai p’ra prisão! and Father Francisco goes to prison!
Como ele vem todo requebrado, How he walks swaying,
Parece um bonéco desengonçado! like a clumsy doll
Bis Bis
Tempo de Marcha de Rancho 120
Poco più mosso
4
rall.
165
PAI FRANCISCO
8
12
15
rall.
18
166
PAI FRANCISCO
22
26
29
33
167
XO! PASSARINHO!
Album 8, No. 5 H. VILLA-LOBOS
Rio, 1932
Xô! Passarinho Shoo! Little Bird
Oh! muleque de meu pai Oh! servant of my father
Não me corte os meus cabellos do not cut my hair
Que meu pai me penteava; which my father used to comb;
Minha madrasta os enterrou My stepmother buried them
Pelos figos da figueira because of the figs of the fig tree
Que o passarinho comeu. that the little bird ate.
Xô!... passarinho (recitado) Shoo!... little bird (recited)
Andante 56
1)
6
1) m. 1, dynamic mark from CMP.
168
XO! PASSARINHO!
11
16
22
27
dim.
169
SINH' ANINHA
Album 8, No. 6 H. VILLA-LOBOS
Rio, 1932
Sinh’Aninha Miss Aninha
Sinh’Aninha diz que tem Miss Aninha says she has
Sete saias de balão, seven balloon skirts
É mentira ela não tem it is a lie, she doesn’t have
Nem dez reis para sabão!... not even ten nickels for soap!...
Ah! Ah! Ah!... Ah! Ah! Ah!...
Ah! Ah! Ah!... Ah! Ah! Ah!...
Nem dez reis para sabão. Not even ten nickels for soap.
Bis Bis
Andantino 104
2)
1)
5
3)
1) m. 1, dynamic mark from CMP.
2) m. 2, accent mark from CV.
3) m. 8, accents in the bass part from CV.
170
SINH' ANINHA
9
14
18
22
171
VESTIDINHO BRANCO
Album 8, No. 7 H. VILLA-LOBOS
Rio, 1932
Vestidinho Branco Little White Dress
Vestidinho branco em todos assenta bem. Little white dress suits everyone.
Bis Bis
Só na Fulana ó maninha, Only in So and so, oh little sister,
Mais do que ninguem. more than anyone else.
Bis Bis
Mais do que ninguem More than anyone else
Por dentro e por fóra from inside and outside
Bis Bis
Para o ano se Deus quiser oh! nenem! For this year, God willing, oh! little one!
A Fulana estará casada So and so will be married
Bis Bis
Estará casada e bem casadinha Will be married and very well married
Bis Bis
Com o maridinho ao lado oh! nenem! With her little husband by her side, oh! little one!
Na sua casinha In her little home
Bis Bis
Allegretto 144 1)
2)
1) Tempo mark Molto allegro in CMP.
2) m. 1, all dynamic marks from CMP, except m. 11.
172
VESTIDINHO BRANCO
11
16
21
26
173
VESTIDINHO BRANCO
31
36
41
45
174
GUIA PRÁTICO FOR PIANO
ALBUM 9
HEITOR VILLA-LOBOS
175
LARANJEIRA PEQUENINA
Album 9, No. 1 H. VILLA-LOBOS
Rio, 1932
Laranjeira Pequenina Small Orange Tree
Laranjeira pequenina Small orange tree
Carregadinha de flores loaded with flowers
Eu tambem sou pequenina I am also small
Carregadinha de amores... but loaded with love...
Eu plantei o roxo n’agua, I planted the violet in the water
O azul na beiradinha, the blue in the margin,
Quem quizer casar commigo whoever wants to marry me
Mande carta e mais cartinha send a letter, even a small one.
Allegretto quasi allegro ( 116)
4
176
LARANJEIRA PEQUENINA 3
simile
7
10
13
3
16
177
LARANJEIRA PEQUENINA
19
Lento
22
poco rall.
178
POMBINHA, ROLINHA
Album 9, No. 2 H. VILLA-LOBOS
Rio, 1932
Pombinha, Rolinha Little Dove, Little Pigeon
(Brinquedo de roda) (Round Song)
Pombinha, rolinha Little dove, little pigeon
Passou por aqui, came through here,
Comendo, bebendo, eating, drinking,
Fazendo assim... doing like that...
Assim... assim... like that... like that...
Assim, outra vez Assim! like that, and again like that!
Bis Bis
Allegro vivace
1)
Moderato
simile
4
rall.
3
9
simile
1) m. 1, sttacato from CV.
179
POMBINHA, ROLINHA
14
Allegro vivace Moderato
19
3
24
Vivo
29
180
Allegro vivace POMBINHA, ROLINHA
34
Moderato
39
rall.
3
43
Vivo
47
181
O CIRANDA, O CIRANDINHA
Album 9, No. 3 H. VILLA-LOBOS
Oh ciranda, Oh cirandinha Rio, 1932
Ó ciranda, Ó cirandinha (ring-around-a-rosy)
Ó Ciranda, ó Cirandinha, Oh Ciranda, oh Cirandinha,
Vamos todos cirandar; let us all dance the ciranda;
Uma volta, meia volta, One round, half a round,
Volta e meia vamos dar. let’s round one and a half times.
Ó Ciranda, ó Cirandinha, Oh Ciranda, oh Cirandinha,
Vamos todos cirandar; let us all dance the ciranda;
Vamos ver a D. Luiza Let’s go see Ms. Luiza
Que já está para casar who is about to get married.
O anel que tu me deste, The ring that you gave me,
Era vidro se quebrou; was glass, and broke;
O amor que tu me tinhas The love you had for me
Era pouco e se acabou. was little and came to an end
Andantino
1)
1) m. 6-7, middle voice beamed over barline in CV and CMP.
182
O CIRANDA, O CIRANDINHA
12
18
24
1)
30
1) mm. 24-49, octave higher omited in CV.
183
O CIRANDA, O CIRANDINHA
36
42
184
A VELHA QUE TINHA NOVE FILHAS
Album 9, No. 4 H. VILLA-LOBOS
Rio, 1932
A Velha Que Tinha Nove Filhas The Old Woman Who Had Nine Daughters
Era uma velha que tinha nove filhas There was an old woman who had nine daughters
E todas faziam biscoito and all of them baked biscuits
Deu tangoronomango numa delas One of them had a tangoronomango (a sudden attack)
E das nove ficaram oito. and from nine, there were eight.
E essas oito meu bem que ficaram And these eight who remained, my darling,
foram aprender francês began to learn French
Deu tangoronomango numa delas One of them had a tangoronomango
E das oito ficaram sete. and from eight, there were seven.
Bis Bis
E essas sete meu bem que ficaram And these seven who remained, my darling,
Foram plantar batatas, started to plant potatoes
Deu tangoronomango numa delas One of them had a tangoronomango
E das sete ficaram seis. and from seven there were six.
Bis Bis
Allegro non troppo
Em tempo absoluto
1)
5
2)
1) m. 3, beams overline bars in CV and CMP.
2) m. 5, staccatto omited in CV and CMP.
185
A VELHA QUE TINHA NOVE FILHAS
9
3
13
17
3
21
3
186
A VELHA QUE TINHA NOVE FILHAS
25
29
3
33
3
187
CONSTANTE
Album 9, No. 5 H. VILLA-LOBOS
Rio, 1932
Constante Faithful
Constança, meu bem, Constança, Constance, my darling, Constance,
Constante sempre serei constant I will always be,
Constante até a morte, constant till death,
Constante eu morrerei. faithful I will die.
Bis Bis
1)
Andantino quasi allegretto
6
12
1) Tempo mark: CV, quarter note = 132, CMP, quarter note = 132
188
CONSTANTE
17
1)
9
21
1)
3 3
rall.
3 3
1) m. 18, alto voice omited in CMP except first beat.
2) m.21, rall. mark written in m. 22 in CMP.
187
CONSTANTE
Album 9, No. 5 H. VILLA-LOBOS
Rio, 1932
Constante Faithful
Constança, meu bem, Constança, Constance, my darling, Constance,
Constante sempre serei constant I will always be,
Constante até a morte, constant till death,
Constante eu morrerei. faithful I will die.
Bis Bis
1)
Andantino quasi allegretto
6
12
1) Tempo mark: CV, quarter note = 132, CMP, quarter note = 132
188
CONSTANTE
17
1)
9
21
1)
3 3
rall.
3 3
1) m. 18, alto voice omited in CMP except first beat.
2) m. 21, rall. mark written in m. 22 in CMP.
189
O CASTELO
Album 9, No. 6 H. VILLA-LOBOS
Rio, 1932
O Castelo The Castle
O Castello pegou fogo The Castle caught on fire
S. Francisco deu signal; Saint Francis gave a sign;
Acuda, acuda, acuda, Rescue, rescue, rescue
A bandeira nacional. the national flag
Um, dois, tres, One, two, three,
Quatro, cinco, seis. four, five, six.
Sete, oito, nove, seven, eight, nine,
Para doze faltam tres to twelve one is short of three.
Moderato de Marcha (Animato) 132
com imponencia
4
simile
190
O CASTELO
8
11
14
17
191
O CASTELO
20
23
cresc.
26
allarg.
192
GUIA PRÁTICO FOR PIANO
ALBUM 10
HEITOR VILLA-LOBOS
193
DE FLOR EM FLOR
Album 10, No. 1 H. VILLA-LOBOS
Rio, 1932
DE FLÔR EM FLÔR FROM FLOWER TO FLOWER
Vamos de roda em roda, We go from playcircle to playcircle,
vamos de flôr em flôr, We go from flower to flower,
Vamos de roda em roda, We go from playcircle to playcircle,
vamos de flôr em flôr. We go from flower to flower,
Cada um se abrace [May] Each one hug
como seu amôr, The one they love,
cada um se abrace [May] Each one hug
como seu amôr. The one they love.
Allegro 132
3 1)
rall.
2)
a tempo
1) m. 4, staccattos begin in second beat in MEE.
2) m. 4 - 5, tempo changes only in MEE.
194
DE FLOR EM FLOR
6
9
12
rit. a tempo
1)
15
1) m. 10, Db in MEE.
195
DE FLOR EM FLOR
18
rit.
21
allarg.
24
rall.
196
ATCHÉ
Album 10, No. 2 H. VILLA-LOBOS
Rio, 1932
ATCHÉ ATCHÉ
Atché! Que diabo é isto Atché! What in the world is this
Na panella Dofeitico! In the pot of the [magic] spell?
Atché! Que diabo é isto Atché! What in the world is this
Na panella Dofeitico! In the pot of the [magic] spell?
Allegretto
4
7
197
ATCHÉ
10
13
16
19
rit.
198
NESTA RUA
Album 10, No. 3 H. VILLA-LOBOS
Rio, 1932
NESTA RUA ON THIS STREET
Nesta rua, nesta rua tem um bosque, On this street, on this street there's a grove,
que se chama, que se chama solidão; Which is called, which is called loneliness;
dentro dele, dentro dele mora um anjo Inside it, inside it lives an angel,
que roubou, que roubou meu coracão. Who stole, who stole my heart.
Si eurobei, si eurobei teu coracão, If I stole, if I stole your heart,
tu tambem, tu tambem roubaste o meu; You too, you too stole mind,
Si eurobei, si eurobei teu coracão, If I stole, if I stole your heart,
e' porque, é porque te quero It's because, it's because I want you.
Moderato
4
199
NESTA RUA
9
12
15
m.g.
18
200
NESTA RUA
21
m.g.
24
1.
27
rall.
2.
30
a
tempo
201
FUI NO ITORORO
Album 10, No. 4 H. VILLA-LOBOS
Rio, 1932
FUI NO ITOROTÓ I WENT TO ITORORÓ
Ponha aqui o seu pésinho Put your tiny foot here,
Bemjuntinho ao dé do meu Very close to mine,
E depois não vá dizer And don't go saying later
Que você se arrependeu. That you regret it.
Eu fui a Itororó I went to Itororó
Beber agua e não achei. To drink water and didn't find any.
encontrei bella morena, I found a beautiful brunette
que no Itororó deixei. Whom I left in Itororó.
Aproveite minha gente Enjoy, people,
que uma noite não é nada Because one night is nothing
si não dormir agora If you don't sleep now
Dormirá de madrugada You'll sleep in the dead of night
Entrará na roda, You'll come into the playcircle,
ficará sósinha, You'll be alone,
sósinha não fico Alone I don't [usually] stay
nem hei de ficar Nor will I stay [tonight, ever?]
porque tenho Fulano Because I have John Doe
para ser meu par! To be my partner.
Vivo 132
202
FUI NO ITORORO
6
6 2)
1)
11
11
16
16
1) m. 6-7, upper note omited in MSC.
2) m. 9, staccatto in RH in MSC.
203
FUI NO ITORORO
20
24
28
3
3
32
3 3
32
204
FUI NO ITORORO
36
36
40
40
44
44
205
FUI NO ITORORO
48
48
206
MARIQUITA MUCHACHA
Album 10, No. 5 H. VILLA-LOBOS
Rio, 1932
MARIQUITA MUCHACHA MARIQUITA YOUNG LADY
Mariquita muchacha! Mariquita young lady!
Quê que está fazendo, Mariquita? What is it that you're doing, Mariquita?
Estou cozendo a saia I'm sewing the skirt
Que já está rompendo, Mariquita. Which is already ripping, Mariquita.
Allegro non troppo 112
5
10
1)
2)
1) m. 12, quarter note in CV and MEE.
2) m. 14, sf only in the first beat in CV.
207
MARIQUITA MUCHACHA
1)
15
20
25
1)
30
2)
1) m. 19, accent symbol inverted in MEE
2) m. 30, sf omited in CV.
208
MARIQUITA MUCHACHA
35 1)
40 Meno
rit.
209
NO JARDIM CELESTIAL
Album 10, No. 6 H. VILLA-LOBOS
Rio, 1932
NO JARDIM CELESTIAL IN THE HEAVENLY GARDEN
Vamos no jardin celeste Let's go to the heavenly garden
Giroflê, ô giroflar; Twirl, oh twirl;
vamos no jardin celeste Let's go to the heavenly garden
para lá nos encontrar. To meet [us] there.
O que foram lá fazer? What did [you] go do there?
Giroflê, ô giroflar; Twirl, oh twirl;
O que foram lá fazer, What did [you] go do there,
para lá nos encontrar? To meet [us] there?
Colher muitas violetas, Gather many violets,
Giroflê, ô giroflar; Twirl, oh twirl;
Colher muitas violetas Gather many violets,
e tambem nos encontrar. And also meet [us] there.
P'ra que servem as violetas? What are the violets for?
Giroflê, ô giroflar; Twirl, oh twirl;
p'ra que servem as violetas? What are the violets for?
para lá nos encontrar... To meet [us] there…
P'ra o'roar Nossa Senhora, To crown Our Lady,
Giroflê, ô giroflar; Twirl, oh twirl;
P'ra o'roar Nossa Senhora, To crown Our Lady,
para lá nos encontrar. To meet [us] there.
Si encontrasse c'o a rainha, If I were to meet the queen,
Giroflê, ô giroflar; Twirl, oh twirl;
Si encontrasse c'o a rainha, If I were to meet the queen,
para lá nos encontrar... To meet [us] there.
Eu daria os cumprimentos, I would give [my] regards,
Giroflê, ô giroflar; Twirl, oh twirl;
Eu daria os cumprimentos, I would give [my] regards,
para lá nos encontrar. To meet [us] there.
Si encontrasse c'o Demonio, If I were to meet the Devil,
Giroflê, ô giroflar; Twirl, oh twirl;
Si encontrasse c'o Demonio, If I were to meet the Devil,
para lá nos encontrar... To meet [us] there…
Mostraria minhas cruzes, I would show my crosses,
Giroflê, ô giroflar; Twirl, oh twirl;
Mostraria minhas cruzes, I would show my crosses,
para lá nos encontrar. To meet [us] there.
210
NO JARDIM CELESTIAL
Piano
5
poco rall. Meno
9
211
NO JARDIM CELESTIAL
13
17
21
26
212
NO JARDIM CELESTIAL
31
31
35
dim. e poco rall.
35
213
GUIA PRÁTICO FOR PIANO
ALBUM 11
HEITOR VILLA-LOBOS
214
O ANEL
Album 11, No. 1 H. VILLA-LOBOS
Rio, 1932
O ANEL
THE RING
Ah! Ele vai, ele vem,
por aqui Já passou... Ah! He goes, he comes,
Ele vai, vai, vai... He's been through here,
Ele vem, vem, vem... He goes, goes, goes,
Por aqui-qui-qui Já passou... He comes, comes, comes,
He's been through here, here, here
Allegretto quasi andantino
3
1)
3 3 3 3
3 3
3 3
3
3 3
3
3 3
3 3
3 3
3
3
3 3
1) Piano part omited in CV.
215
O ANEL
3
5 3
3 3
3 3 3 3
3
3
3
3
104
3 3
7
3 3
3 3
3
3
3
10
216
O ANEL
13
15
17
217
O ANEL
3 3
19
3 3
3
3
21
3 3
3
23
3
218
O ANEL
26
29
32
3
3
1) m. 37, accent in MEE.
219
O ANEL
34
37
1)
3
40
3 3
3 3 3 3 3
3
3 3
3 3 3
3 3
220
O ANEL
3 3
43 3 3
3 3
3 3
3 3 3
3
3 3 3
3 3
3
104
3 3
46
3 3
3 3
3
3
3
49
221
O ANEL
52
55
3 3 3
rall.
a tempo
3
3 3
57
3 3 3 3
3
3
3
222
NIGUE NIHNAS
Album 11, No. 2 H. VILLA-LOBOS
Rio, 1932
NIGUE NINHAS NIGUE NINHAS
Êh! Nigue, nigue ninhas Hey! Nigue, nigue ninhas
Tão bonitinhas Macamba So cute Macamba
Vióla De parie ganguinhas! Vióla of giving birth to ganginhas!
Êh! Imbê tumbelá Hey! Imbê tumbelá
Mussangalá quina quinê! Mussangalá quina quinê!
Acalanto
1)
3
Piano
3
5
3
3
2) Piano part omited in CV.
1) m. 10, C natural omited in CEE.
223
NIGUE NIHNAS
9
3
2)
3
a tempo
3
13
rall.
3 3
3
3
17
rall.
3
3
224
NIGUE NIHNAS
21
3
3
26
3
3
3
3
3 a tempo
30
3 3
225
NIGUE NIHNAS
34
3
3
37
rall.
3
3
226
POBRE CEGA
Album 11, No. 3
H. VILLA-LOBOS
Rio, 1932
Pobre Céga Poor Blind One
Minha mãi acorde Mother, wake up
De tanto dormir... from so much sleep...
Venha vêr um cégo vida minha Come see a blind man, my life,
Cantar e pedir. singing and begging.
Si ele canta e péde If he sings and begs
Dá-lhe pão e vinho, give him bread and wine
Mande o pobre cégo vida minha Tell the blind man, my life,
Seguir seu caminho! to be on his way!
Não quero teu pão I do not want your bread
Nem tambem teu vinho, and not your wine either
Quero só que Aninha (vida minha), I only ask that Aninha (my life)
Me ensine o caminho. show me the way.
Ainda mais Aninha, A little more, Aninha,
Mais um bocadinho, A little more,
Eu sou pobre cégo (vida minha) I am a poor blind man (my life)
Não vejo o caminho. I cannot see the way.
Andante moderato
3
3
3
chanté
227
POBRE CEGA
5
7
9
228
POBRE CEGA
11
3
13
15
17
229
POBRE CEGA
20
23
26
29
3
3
rall.
230
A COTIA
Album 11, No. 4 H. VILLA-LOBOS
Rio, 1932
A COTIA THE RACCOON
Minha Cotia estava na cozinha, My cotia was in the kitchen,
eu só me queixo da cozinheira. I just complain about the cook,
Você queria, porem não via You wanted, but didn't see
sem ter dinheiro comeu Not having money, you ate
"mia" Cotia! My cotia!
Tempo
de Mazurka
3
3
3
3
3
3
3
4
3
3
3
3
3
3
3
8
231
A COTIA
13
18
23
Fine.
28
3
3
3
3
232
VIDA FORMOSA
Album 11, No. 5 H. VILLA-LOBOS
Rio, 1932
VIDA FORMOSA LOVELY LIFE
O moreno é quinha, The black fellow is Quinha,
Juquinha meu bem, Juquinha my friend,
a vida é formosa Life is lovely
para quem amores tem. For he who has loved ones.
Um, dois, três, One, two, three,
quatro, cinco, seis, Four, five, six,
sete, oito, nove, Seven, eight, nine,
para doze faltam três Three [more] until twelve
Ah! Ah!
3
Movimento Marcha de Rancho 166
3
3 3
3 3
cresc.
3
3
3 3
3
3
3
3 3
3 rall.
bien chanté
5
a tempo
233
VIDA FORMOSA
3
7
9
11
13
234
VIDA FORMOSA
15
17
rit. a tempo
19
21
235
VIDA FORMOSA
23
25
27
3
29
236
VIDA FORMOSA
31
33
cresc.
rall.
237
VIVA O CARNAVAL!
Album 11, No. 6 H. VILLA-LOBOS
Rio, 1932
VIDA O CARNAVAL LONG LIVE CARNIVAL
Viva a Zé Pereira! Long live Zé Pereira!
Viva Carnaval! Long live Carnival!
Viva a alegria Long live the joy
que a ninguem faz mal! Which does no one harm!
Allegro vivace
3
3
4
3
3
7
3
3
238
VIVA O CARNAVAL!
10
3
3
13
3
16
3 3 3 3
3 3 3
18
5 5
3
239
VIVA O CARNAVAL!
21
3
3
25
3 3 3
27
3 3 3 3
5 5
29
240
VIVA O CARNAVAL!
31
33
35
3 3 3
37
3 3 3 3
5 5
241
VIVA O CARNAVAL!
A Tempo I
39
42
ATempo
D.C. al
I
45
48
3
3
3
242
VIVA O CARNAVAL!
51
3
dim. poco a poco
3
54
3
3
57
3
3 sempre
60
3
3
ralentar
3
dim. poco a poco sem
243
VIVA O CARNAVAL!
63
3 3
66
3
dim.
CHAPTER FOUR
SUMMARY AND RECOMMENDED SUGGESTIONS FOR FURTHER STUDY
The Guia Prático for Piano includes a broad collection of elements which makes
it unique. Villa-Lobos’ main purpose in writing this work was to educate the children of
Brazil. He used a combination of folk-like tunes and childhood stories as a basis for these
compositions; the end result being a varied work of piano pieces that reflects both the
spirit of Villa-Lobos and his Brazilian soul.
Although many of Villa-Lobos’ piano works are well-known, the pieces
contained in the Guia Prático for Piano are less performed. The main reason for this is
the lack of available scores and the fact that the albums contained in the Guia Prático for
Piano have been published separately. In addition, the available scores contain several
mistakes and they make no reference to the choral version.
This revised and edited version of the Guia Prático for Piano aims at making this
work accessible to both piano teachers and students. In this project, the eleven albums are
included. In each piece, the text from the choral version was included with its translation
to English. In addition to the updated score, the historical commentary and performance
notes will facilitate a better understanding of the pieces.
244
The method used in creating this edition involved a careful comparison between
the available manuscripts, the choral version, and the piano editions of the Guia Prático.
Special attention was placed on note accuracy, dynamics, suggested tempi, phrasing, and
articulations. The result is an updated and corrected version of the Guia Prático for
Piano.
The material contained in this dissertation can also be used for future publications
of the Guia Prático for Piano. A scholarly edition is necessary in order to offer both
pianists and musicians in general a more accurate score of this work. Such publication
will contribute greatly to the existing piano repertoire. At the same time, this performance
edition offers a fine collection that will allow the developing pianist to improve their
piano technique while exploring the music of Villa-Lobos.
245
BIBLIOGRAPHY
Béhague, Gerard. Heitor Villa-Lobos: The Search for Brazil's Musical Soul. Austin:
Institute of Latin American Studies, University of Texas at Austin, 1994.
Burleson, Jill. “Selected Choral Works from Música Sacra by Heitor Villa-Lobos: A
Performance Edition with Critical Notes and Commentary.” D.A. diss., Ball State
University, 2007.
Bush, Randall. “Heitor Villa-Lobos.” Clavier, vol. 20 (February, 1981): 20-21.
———, “Heitor Villa-Lobos.” Clavier, vol. 24 (February, 1985): 18-21.
Elkins, Laurine Annette. “An Examination of Compositional Technique in Selected Piano
Works of Heitor Villa-Lobos.” M.M. thesis, University of Texas at Austin, 1971.
Marchena, Martha. “An Analytical Study of Three Solo Piano Works by Heitor Villa-
Lobos (1887-1959).” D.M.A. diss., University of Miami, 1985
Mariz, Vasco. Heitor Villa-Lobos; Brazilian Composer. Gainesville: University of
Florida, 1963.
———. Heitor Villa-Lobos; Life and Work of the Brazilian Composer. Washington:
Brazilian American Cultural Institute, 1970.
Morton, Laurence. “Villa-Lobos Brazilian Pioneer.” Clavier, vol. 16 (January, 1977): 29-
32.
Muricy, José Candido de Andrade. Villa-Lobos--Uma Interpretação. Rio de Janeiro:
Ministerio de Educação e Cultura, Serviço de Documentação, 1961.
Peppercorn, Lisa Mary. Villa-Lobos: Collected Studies. Brookfield: Ashgate Pub., 1992.
Rust, Robert. “Interpreting the Music of Heitor Villa-Lobos.” Clavier, vol. 33 (October,
1994): 20-23.
Tarasti, Eero. Heitor Villa-Lobos: the Life and Works, 1887-1959. Jefferson, N.C.:
McFarland, 1995.
Villa-Lobos, Heitor. Guia Prático Book II for Solo Piano. Boca Raton, Florida:
Masters Music Publications, 1993.
―――. Guia Prático Troisiéme Album pour Piano. Paris: Editions Max Eschig, 1957.
246
―――. Guia Prático Quatriéme Album pour Piano. Paris: Editions Max Eschig, 1987.
―――. Guia Prático Cinquiéme Album pour Piano. Paris: Editions Max Eschig, 1987.
―――. Practical Guide: Five Pieces on Popular Brazilian Children’s Songs:
for Piano Album 6. New York: Mercury Music, 1947.
―――. Guia Prático Dixiéme Album pour Piano. Paris: Editions Max Eschig, 1987.
―――. Guia Prático Album 11. New York: Southern Music Publishing, 1953.
―――. The Piano Music of Heitor Villa-Lobos: A New Edition Revised. and Edited by
the Composer. New York: Consolidated Music Publishers, 1973.
Wright, Simon. Villa-Lobos. New York: Oxford University Press, 1992.
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