Dilermando-Reis-volume-2

1

2

CONTENTS 1. 2. 3. 4.

s.

6. 7. 8. 9. 10.

Alllla Apaixonada (song) ............................................ 5 Desengano (choro) ........................................................... 9 Eterna Saudade (waltz) .............................................. 11 Feiti ~o (choro) ................................................................... 14 Fim. de Festa (waltz) ..................................................... 16 Gente Boa (chorc) ......................................................... 19 Rosas de OutonG (waltz) .......................................... 21 Sandrinha (waltz) .......................................................... 24 Sobradinho (maxixe) .................................................... 2 7 Ve se te Agrada (choro) .............................................. 29

NOTES ABOUT THE TRANSCRIPTIONS These ten pieces, which appear in print for the first time, were transcribed directly from Dilermando Reis' original recordings. Aside from Ve se te Agrada, the other nine selections have one recorded version each. A rough translation-with the exception of Sobradinho, for it is impossible to know the exact meaning Dilermando had in mindand the recording date appear in parenthesis next to the title.

Alma Apaixonada / Soul in Love (1968 recording)

This piece, though written in 3/4, is not exactly a waltz. Dilermando plays it as a sentimental song. There are many grace notes anticipating the bass line. Some are stylistic and some were probably used to facilitate the performance. Desengano / Disenchantment (1966 recording)

This is a great choro with a strong melody. Note that some gaps in the main melody are filled in with another one which creates a kind of question and ans\ver effect. Eterna Saudade / Eternal Longing (1963 recording) This is one of Reis' typical waltzes. Written in a minor key, it must be played slowly and with a melancholic feeling. There is a nice contrasting effect in the first seven bars of the second section which are played twice as fast. F eiti{o / Sorcery (1968 recording)

MyfavoriteofDilermando}schorosisFeitifo.Muchofitscharmisductotheanticipated bass notes throughout the piece, which in this case go beyond stylistic nuances to become an essential part of the piece.

3 The rhythm changes suddenly in bars 30 and 31 (second section), which may cause reading problems. These two bars should be played as if they were written this way:

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Reis composed many sentimental waltzes in E minor. These two share this characteristic and, besides the romantic feeling, have a similar structure.

Gente Boa / Good People (1975 recording) This choro is qllite effective despi te not having a strong bass line, so typical of the choro. It must be played with plenty of swing. Pay attention to the pizzicatos (they are very important) and, once more, to anticipated bass notes. Rosas de Outono / Autumn Roses (1969 recording)

Although played slowly, it differs from the other \Jvaltzes in this volume in that it is not sad and has not repeated melodic phrases in either section. There are some similarities between this piece and Dois Destinos, which is in Volume 1 of this series. Sobradinho / (1969 recording)

This is the only maxixe in this collection. The first section recalls the well-known Sons de Carrilhoes (Sound of Bells), by Joao Pernambuco and must be played with the same feeling. The title may refer to a Brazilian city.

Ve se te Agrada / See If You Like It (1948 and 1971 recordings) Both versions of this choro were recorded with 2 guitars. In this arrangement for solo guitar, I have tried to maintain some of the original feeling. I consider this to be the most difficul t piece in the collection.

I would like to thank my friends Dailor Pereira, Edmar Fenicio, Heiio Cunha, loaD Barbosa, Richard Udler, Ronoel Simoes, Rubinho, and William Kobata who helped me in various ways. Special thanks to Erasto Reis (Dilermando's nephew) and the entire Reis family from Guaratingueta (Sao Paulo). This volume, once again, is dedicated to Mr. Ronoel Sirnoes, whose work for the past 50 years, has been fundamental in the preservation of the guitar history. IVAN PASCHOITO April 20, 1994

4

DILERMANDO REIS (1916-1977) Dilermando Reis, probably the most famous Brazilian popular guitarist, was born in Sao Paulo State but lived most of his life in Rio de Janeiro, where he worked actively in radio and recordings. From 1941 to 1975 he recorded about 20 - 78 rpm and 23 - LPs. He played all kinds of music and recorded the compositions of Bach, Barrios, Tarrega, Gnattali, and Pixinguinha among many others. However, his preference was the traditional Brazilian guitar style: doleful waltzes and choros full of modulations to "confuse" accompanists, played with his unique style and sound. He was a great composer also. He recorded about 100 of his own compositions, many of which became real standards of Brazilian popular guitar-like Dois Destinos and Se Ela Perguntar.

In 1975 he recorded the LP The Brazilian Guitar ofD ilerman do Reis, containing his last -- ------compositions: choros and waltzes, of course.

IVAN PASCHOITO Ivan was born in Sao Paulo, Brazil in 1953. Fascinated with the sound of Dilermando Reis, he began teaching himself the guitar at the age of 12. In 1973, Ivan began transcribing and arranging the music of Baden Powell, Toquinho, Milton Nascimento, Vinicius de Moraes, and others. His first arrangements were published in 1984. Ivan's favorite guitarists include: Carlos Barbosa-Lima, Paulinho Nogueira, Dilermando Reis, Garoto (Anibal Augusto Sardinha), and John Williams.

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