Piano Solo - Level 4 - Digital Download SKU: A0.1083332 By Idalmo Santos. By Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. Latin,Multicultural,World. Score. 4 pages. Idalmo Santos #687534. Published by Idalmo Santos (A0.1083332). One of the most famous Brazilian songs and one of the best known compositions by Chiquinha Gonzaga, the modinha Lua branca has a history surrounded by mystery. It was written for the burleta Forrodobó, performed at Teatro São José in June 1912, as a modinha for the characters Sá Zeferina and Escandanhas, whose original verses maintain the caricature spirit of the play. In 1929, this romantic version appeared with the title Lua branca (White Moon), recorded by the singer Gastão Formenti, without the authorship of the verses and the new title being known to this day. Between the two versions, there was an arrangement on disc with the title Lua de fulgores by the singer R. Ricciardi, pseudonym of the paulista Paraguassu, but it was the version recorded by Gastão Formenti, accompanied on the piano by professor J. Otaviano, and the Irmãos Vitale edition with harmonization by the pianist that became famous. Chiquinha Gonzaga had to claim authorship of the modinha, denouncing plagiarism and obtaining victory through Sbat, an entity she founded. The original version was recorded as a comic scene by Pinto Filho and Maria Vidal, in 1930, with the title Sá Zeferina. Also the original melody with verses by Paulo César Pinheiro, entitled Serenata de uma mulher (A Woman's Serenade), was recorded by Olívia Hime in 1998. The version canonized as Lua branca has numerous phonograph records by singers and instrumentalists such as Paulo Tapajós, Paulo Fortes, Rosemary, Vânia Carvalho, Maria Bethânia, Verônica Sabino, Leila Pinheiro, Joana, Alessandra Maestrini, Antonio Adolfo, Eudóxia de Barros, Rosária Gatti, Marcus Vianna, Maria Teresa Madeira, and Leandro Braga.

Flute Solo - Level 3 - Digital Download SKU: A0.1083310 By Idalmo Santos. By Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. Latin,Multicultural,World. Individual part. 2 pages. Idalmo Santos #687512. Published by Idalmo Santos (A0.1083310). The famous Corta-jaca, the name with which the tango Gaúcho became popular, is one of Chiquinha Gonzaga's most recorded and best-known songs, along with Ó abre alas, Lua branca, and Atraente. It was born on the stages of musical theaters, where it was danced in the final scene of the burlesque operetta of national costumes Zizinha Maxixe, imitated from French by an anonymous author, performed at the Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa), the anonymous author of the play, ended up putting verses to the music of Corta-jaca, helping to popularize it, especially after his version was recorded on disc by the duo Os Geraldos. Throughout history, Corta-jaca frequented other stages and repertoires: café-cantante, chope-berrante, rodas de choro... But it was at the Palácio do Catete, in 1914, that it achieved its glory. Performed on the guitar by first lady Nair de Teffé, it caused political scandal and ended up nicknaming the administration of Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa made from the rostrum. When asked what was the corta-jaca he had heard so much about, he concluded: The lowest, the most vulgar, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions the corta-jaca is performed with all the honors of Wagner's music, and one does not want the conscience of this country to revolt, our faces to blush and the youth to laugh! Never before in the history of Brazil had eminently popular music been performed at the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca has become a classic of the great repertoire of Brazilian instrumental music, meriting recordings by, among others, Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, Turíbio Santos, countless bands, and some sung versions. It was written by the maestro also for singing and piano and small orchestra: oboe, viola, timpani, horns (bass), bassoon.

Concert Band - Level 2 - Digital Download SKU: A0.978107 Composed by Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. 20th Century,Latin,World. Score and parts. 23 pages. Idalmo Santos #6679863. Published by Idalmo Santos (A0.978107). The famous Corta-jaca, the name with which the tango Gaúcho became popular, is one of Chiquinha Gonzaga's most recorded and best-known songs, along with Ó abre alas, Lua branca, and Atraente. It was born on the stages of musical theaters, where it was danced in the final scene of the burlesque operetta of national costumes Zizinha Maxixe, imitated from French by an anonymous author, performed at the Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa), the anonymous author of the play, ended up putting verses to the music of Corta-jaca, helping to popularize it, especially after his version was recorded on disc by the duo Os Geraldos. Throughout history, Corta-jaca frequented other stages and repertoires: café-cantante, chope-berrante, rodas de choro... But it was at the Palácio do Catete, in 1914, that it achieved its glory. Performed on the guitar by first lady Nair de Teffé, it caused political scandal and ended up nicknaming the administration of Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa made from the rostrum. When asked what was the corta-jaca he had heard so much about, he concluded: The lowest, the most vulgar, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions the corta-jaca is performed with all the honors of Wagner's music, and one does not want the conscience of this country to revolt, our faces to blush and the youth to laugh! Never before in the history of Brazil had eminently popular music been performed at the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca has become a classic of the great repertoire of Brazilian instrumental music, meriting recordings by, among others, Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, Turíbio Santos, countless bands, and some sung versions. It was written by the maestro also for singing and piano and small orchestra: oboe, viola, timpani, horns (bass), bassoon.

Baritone Saxophone Solo - Level 4 - Digital Download SKU: A0.1503443 Composed by Chiquinha Gonzaga. Arranged by Anderson Quevedo. 19th Century,A Cappella,Instructional,Latin. Individual part. 5 pages. The Sheet Music Library #1078891. Published by The Sheet Music Library (A0.1503443). Corta Jaca (Gaucho) - Chiquinha Gonzaga for Baritone SaxophoneA beatiful adaptation for solo saxophone of this brazilian masterpiece from the 1800`s.

Cello Solo - Level 4 - Digital Download SKU: A0.1505227 Composed by Chiquinha Gonzaga. Arranged by Anderson Quevedo. 19th Century,A Cappella,Instructional,Latin,Multicultural,World. Individual part. 3 pages. The Sheet Music Library #1080615. Published by The Sheet Music Library (A0.1505227). Corta Jaca (Gaucho) - Chiquinha Gonzaga for CelloA beautiful adaptation for cello solo of this brazilian masterpiece from the 1800`s.

Alto Saxophone Solo - Level 4 - Digital Download SKU: A0.1503767 Composed by Chiquinha Gonzaga. Arranged by Anderson Quevedo. 19th Century,A Cappella,Instructional,Latin,Multicultural,World. Individual part. 3 pages. The Sheet Music Library #1079219. Published by The Sheet Music Library (A0.1503767). Corta Jaca (Gaucho) - Chiquinha Gonzaga for Alto SaxophoneA beautiful adaptation for solo saxophone of this brazilian masterpiece from the 1800`s.

Viola Solo - Level 5 - Digital Download SKU: A0.1505687 Composed by Chiquinha Gonzaga. Arranged by Anderson Quevedo. 19th Century,A Cappella,Instructional,Latin,Multicultural,World. Individual part. 3 pages. The Sheet Music Library #1081080. Published by The Sheet Music Library (A0.1505687). Corta Jaca (Gaucho) - Chiquinha Gonzaga for ViolaA beautiful adaptation for viola solo of this brazilian masterpiece from the 1800`s.

Electric Bass Guitar,Instrumental Solo - Level 4 - Digital Download SKU: A0.1505228 Composed by Chiquinha Gonzaga. Arranged by Anderson Quevedo. 19th Century,A Cappella,Instructional,Latin,Multicultural,World. Individual part. 3 pages. The Sheet Music Library #1080616. Published by The Sheet Music Library (A0.1505228). Corta Jaca (Gaucho) - Chiquinha Gonzaga for Electric BassA beautiful adaptation for solo electric bass of this brazilian masterpiece from the 1800`s.

B-Flat Tuba,Tuba Solo - Level 5 - Digital Download SKU: A0.1505233 Composed by Chiquinha Gonzaga. Arranged by Anderson Quevedo. 19th Century,A Cappella,Instructional,Latin,Multicultural,World. Individual part. 3 pages. The Sheet Music Library #1080621. Published by The Sheet Music Library (A0.1505233). Corta Jaca (Gaucho) - Chiquinha Gonzaga for Tuba/SousaphoneA beautiful adaptation for solo tuba/sousaphone of this brazilian masterpiece from the 1800`s.

Piano Solo - Digital Download SKU: A0.958724 Composed by Celina González Zamora y Reutilio Domínguez Terrero. Arranged by Juan Carlos Cortés A. Concert,Latin,Standards,Traditional. Score. 5 pages. Juan Carlos Cortés Aguirre #6116393. Published by Juan Carlos Cortés Aguirre (A0.958724). Transcripción para piano solo por:JUAN CARLOS CORTÉS A.De la Guaracha San Lázaro compuesta e interpretada por Celina González Zamora (Nueva Luisa, Jovellanos, Matanzas 16 de marzo de 1928 - La Habana 4 de febrero de 2015) y Reutilio Domínguez Terrero (Guantánamo 1921 - 1971)Celina y Reutilio rompen con una vieja separación que existía entre la música guajira y la música afro, establecen una nueva fusión donde la métrica, o sea, la décima hispánica y el estilo del punto guajiro, se mantienen, pero la letra se refiere a temas del patrimonio cultural del continente negro. La acogida del público se debe no solo a lo novedoso de la tonada sino quizá a varias otras razones. El dúo combinaba la restallante voz de Celina, como se la ha llamado, con el sonido producido por Reutilio, que parecía provenir no de una sino de dos o más guitarras. Vale la pena ahondar un poco sobre esto último. En los tradicionales dúos y tríos de punto cubano y son montuno generalmente se utilizaban dos guitarras, o una guitarra y otro instrumento de cuerdas. Un músico tocaba la llamada guitarra prima, o sea, los tonos agudos, como es el caso de Miguel Matamoros en su trío, mientras que un segundo guitarrista ‘bordoneaba’, es decir, marcaba los tonos bajos, como hacía Rafael Cueto con sus famosos ‘tumbaos’ en el Trío Matamoros. Reutilio Domínguez reunía una desarrollada técnica, así como dedos, muñeca y antebrazo supremamente flexibles que le permitían tocar la prima y bordonear al mismo tiempo, de manera que el dúo de Celina y Reutilio sonaba como un trío.Vídeo You Tube Celina y Reutilio:https://www.youtube.com/watch?v=-mS0nW8HTzkTexto:San LázaroGuarancha por: Celina González Zamora y Reutilio Domínguez Terrero.Introducción:Babalú ayé mi mozo,babalú ayé ecua.Que Babalú ayé mi mozo,babalú aye ecua.Guaracha:Eh,eh, ecua,babalú ayé, ekua,Ecua, papa ecua,babalú ayé, ecua,Ecua, viejo ecua,babalú ayé, ecua,Ecua, papa ecua,babalú ayé, ecua,Que yo va subí y usted va bajá,con los zapato de chango te.De Chango te,mi chango ta,chango taito y obatalá.Ay, Babalú ayé,padre mío San Lazaro.Ay, padre mio aeh,padre mío San Lázaro.Ayudanos en nombre de Dios,padre mío San Lázaro.Ay, pero que sea de corazón,padre mío San Lázaro.Piano: Recitado:Ekua babalu aye,sacuapa asoñi,asujana papá,Eh...Son troni carará,Afilapa, osuo no pequeña toto.Piano: Guaracha:Chango te,de chango ta,chango taito y obatalá.Ay, babalú ayé,padre mío San Lázaro.Que yo quiero ser y un senserico,padre mío San Lázaro...Ay, pero que sea de corazónpadre mío San Lázaro...Que yo va subí y usted va bajá,con los zapato de chango te.De Chango te,de chango ta,chango taito de obatalá.

Brass Quintet Bass Trombone,Euphonium,Horn,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1258104 By Francisca Chiquinha Gonzaga. By Francisca Chiquinha Gonzaga. Arranged by Joel Scianna. Chamber,Classical,Multicultural,World. 13 pages. Joel William Music #851334. Published by Joel William Music (A0.1258104). Lua Branca (or White Moon in English) is one of the more well-known works by virtuosic Brazilian composer Francisca Chiquinha Gonzaga. This arrangement showcases the power in her typically gentle and somber melody.   Beginner brass quintets should have no problem with the ranges demanded by this arrangement. The instrumentation is also very flexible, allowing for atypical brass quintet rosters such as Trumpet/Trumpet/Trombone/Euphonium/Tuba or Trumpet/French Horn/French Horn/Trombone/Bass Trombone, etc.    This arrangement features great dynamic contrast, as well as the use of pedal point as a musical technique to add tension and direction. Definitely consider adding this to your repertoir to broaden your ensembles horizons. Enjoy!  

Composed by Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. South American. 3 pages. Published by Idalmo Santos

Solo Guitar - Level 5 - Digital Download SKU: A0.1128426 By FALLAHIN SCORE EDITIONS. By Chiquinha Gonzaga. Arranged by REGINALDO MARTINS. 20th Century,Classical,Multicultural,World. Individual part. 3 pages. Fallahin Score Editions #729049. Published by Fallahin Score Editions (A0.1128426). TRANSCRIPTION FOR GUITAR SOLO.

Solo Guitar - Level 5 - Digital Download SKU: A0.1138144 By FALLAHIN SCORE EDITIONS. By Chiquinha Gonzaga. Arranged by REGINALDO MARTINS. 19th Century,Multicultural,World. Individual part. 4 pages. Fallahin Score Editions #738411. Published by Fallahin Score Editions (A0.1138144).

Solo Guitar - Level 5 - Digital Download SKU: A0.1131871 By FALLAHIN SCORE EDITIONS. By Chiquinha Gonzaga. Arranged by REGINALDO MARTINS. 19th Century,Multicultural,World. Individual part. 3 pages. Fallahin Score Editions #732105. Published by Fallahin Score Editions (A0.1131871). TRANSCRIPTION FOR GUITAR SOLO.