Brejeiro Piano Sheet Music

[Maricel Fergason]

Nazarethwas born in Rio de Janeiro, one of five children. His mother, Carolina da Cunha, gave him his first piano lessons. At the age of ten, after his mother's death, he continued his piano studies with Eduardo Madeira and Charles Lucien Lambert.Strongly influenced by Chopin, Nazareth published his first composition Voc Bem Sabe (which means "You know it well") in 1877, at age 14. At that time, he had begun his professional career playing in cafes, balls, society parties and in the waiting rooms of movie theaters. In 1893, Casa Vieira Machado published his famous tango Brejeiro.

In 1879, he wrote his first tango, Cruz perigo. In 1880, at age 17, he made his first public appearance at the Mozart Club. The following year, he composed the tango No caio n'outra, his first great success, with several reprints. In 1885, he performed in concerts in different clubs of the court. In 1893, Casa Vieira Machado launched a new catalogue of his compositions, including the tango Brejeiro, which achieved national and even international success; the Republican Guard band of Paris included it in their repertoire and recorded it.[1]

His first concert as a pianist took place in 1898. The following year he prepared the first edition of the tango Turuna. In 1905, he had his first work, Brejeiro, recorded by singer Mario Pinheiro with the title O sertanejo enamorado with lyrics by Catulo da Paixo Cearense [pt]. Meanwhile, the "Casa dison" marching band recorded his tango Brushed, which became quite successful. In 1907 Nazareth was appointed third book-keeper of the National Treasury, a position that he did not occupy for not mastering the English language.[3] In 1908, he began working as a pianist at the Mozart Club.

The following year, he participated in a concert held at the National Institute of Music, playing his gavotte Corbeille de fleurs and tango Batuque. He began giving private piano lessons, and worked as a pianist for Casa Gomes in 1921, and the Odeon Cinema from 1920 until 1924.[1] In So Paulo and Campinas he performed several shows in the Municipal Theater and the Conservatory. He was given a grand piano as a gift from his admirers. He was one of the first artists to play for the Society Radio of Rio de Janeiro. In 1932 he presented, for the first time, a recital in which he performed only his compositions.

In 1933, after a period of mental instability following the deaths of his wife and daughter, and diagnosed with syphilis and worsening hearing problems caused by a fall during childhood,[1] Nazareth was hospitalized at the Juliano Moreira Asylum in Jacarepagu. He fled the asylum February 1, 1934 and was found dead three days later in the adjacent forest near a waterfall, where he had drowned.[3]

Nazareth was noted for creatively combining diverse influences into his music, not only of Brazilian music but also from the music of Europe, Africa and ragtime. Many of his compositions remain part of the repertory today. He composed 88 tangos, 41 waltzes, 28 polkas and numerous sambas, galops, quadrilles, Schottisches, fox-trots, romances and other types of scores, totaling 211 complete compositions.

'Escovado' is a common slang which means 'smart'. Ary Vasconcelos tells us in his book Panorama da Musica Popular Brasileira that Nazareth was a "devoted family man who often gave the songs he composed titles in honor of his son, sometimes his wife, or another relative". Travesso was dedicated to his son Ernesto, Marieta and Eulina to his two daughters, Dora to his wife Theodora, Brejeiro to his nephew Gilbert, etc.[4]

Escovado was first published by Casa Vieira Machado & Co. and dedicated to Fernando Nazareth, the composer's younger brother. It became one of Nazareth's greatest success, having the main theme been later tapped by the French composer Darius Milhaud in his Le bœuf sur le toit (1919).[3] In September 1930, accepting an invitation made by Eduardo Souto, then artistic director of Odeon-Parlophone, Nazareth recorded this piece.[4]

The theme tune to Bluey is one of the most famous parts of the show, and is highly recognised both by its simplicity and its originality. The entire piece is short, lasting only twenty-five seconds in total.

The theme tune acts as a musical statues, with characters pausing when the music does. When this happens however, a gap is left between pauses and resuming, which acts as a countdown: When the music stops first, three seconds pass before Chilli (Mum) is called out, before the music resumes; then it is two seconds for Bandit (Dad), one for Bingo, and Bluey is revealed immediately.

The episode "Bingo" features a one-off variant where the titular character is revealed last after Bluey gets tagged. One feature of this is that Bluey pulls the same face her father does when she is called out, and Bandit and Chilli exclaim "Bluey?!".

Additionally, two "long" versions - an extended version and an Instrument Parade - were released with the First Album along with the shorter, regular, version. The second album features a "dance remix" of the theme song.

In celebration of Blueyfest, an extended version of the theme song was uploaded. This time, the theme introduces Rusty, Winton, Pom Pom, Snickers, Muffin and Socks Heeler into the fray - most notably, Rusty seems to be imitating some of Bluey's dancing sequences.

The episode "Rain" is unique in that it is the sole episode to be focused mostly on music, with no dialogue heard when music plays. The first song heard is Boldly In The Pretend which is performed by Jazz D'Arcy, Bluey's composer assistant. The episode itself doesn't feature Boldly in the Pretend's vocals.

Pachelbel's Canon, also known as Canon in D, was named for its composer, German composer Johann Pachelbel. Canon in D is notable for having gone out of style for many centuries before its rediscovery in the late sixties. It has since then grown in popularity, which remains to this day.

Wolfgang Amadeus Mozart (1756-1791), is highly regarded for many classical songs, among these being is his Sonata Number 11, with The Third Movement, known as Ronda Alla Curta (or translated from Italian, The Turkish March), one of the most played globally. This was the very first piece of music in Bluey, aside from the intro and its bridge, airing on the premier episode The Magic Xylophone. In the intro, Bandit pretends to play Bluey as a piano while performing this piece. Also, in the outro, you can hear him also singing the tune to this. Throughout the episode, you can also hear the infamous piece throughout.

The first part of Wolfgang Amadeus Mozart's Piano Sonata No. 16 appears in "Bingo" as background music. Three different variations play throughout the episode; normally as the titular character tries to play by herself, a downbeat version as she's saddened, and as she begins to draw missing posters for New Zealand, the piece crescendos into an upbeat composition.

Antonio Vivialdi (1678-1741) is highly regarded as an influential composer, with his works The Four Seasons all being influential in their own rights. One of these tracks, Spring-Allegro, is instantly recognisable, and is used to represent the feeling of spring itself. It can also be used as an example of opulence or fanciness, which is used in the episode Fancy Restaurant. The music is heard from the episode title screen through to the ending credits.

English-born composer Gustaf Holtz's most famous works are The Planets, which has each planet (bar Earth and undiscovered dwarf-planet Pluto) its own unique tune and music. The most famous of these within this by far is Jupiter, the Bringer of Jollity. It is highly ranked as one of the most iconic and among the most favourited classical music pieces of all time, despite only being first performed in 1918.

Sleepytime, the highest rated Bluey episode[3], uses the piece throughout the episode, as Bingo dreams of planets herself. The episode has won numerous awards on its own[4], and many consider the music piece used alongside the episode equally excellent.

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