Zezito Samba

Main Melody and Introduction The introduction (measures 1 to ~11) is subtle and atmospheric: the woodwinds (piccolo, flute, oboe, clarinets) enter with syncopated rhythmic patterns at mf (such as aaffaa etc.), creating the samba swing right from the start. The saxophones and horns at mp provide harmonic support without stealing the spotlight, while the percussion (snare, drum set, tamborim, surdo) already establishes the classic groove with sixteenth notes and accents on the "2 and" — perfect for that Brazilian swing. The main melody emerges strongly in the alto and tenor saxophones around measure 12, with catchy, repetitive phrases like aaffaa etc. at mf/nf, typical of sambas that stick in your head. The brass (trumpets and trombones) add punch to the refrains, with octave lines that should sound powerful in ensemble. Development and Contrasts In the variations (e.g., measures 24+), there is excellent use of textures: woodwinds in unison or layered, brass with pedal tones or counter-melodies, and percussion varying intensity (from mp to nf). This creates natural dynamics, avoiding monotony — the samba "breathes." The denser section (measures 36+) explodes with ascending lines in the upper winds (e.g., faffaa ga etc.), implied glissandos in the accents, and a collective crescendo that must be impactful live. The ending with D.S. al Coda delivers the expected climax: repetition of the main melody with greater intensity (f), more active percussion (drum set with fills, strong surdo marking), and an elegant close in the brass and tuba. General Strengths Orchestral balance: You distributed the voices very well — woodwinds carry the melody and ornaments, brass provide weight and harmony, percussion sustains the pulse without overwhelming. Ideal for small/medium-sized city bands like those in Tibagi or Goiânia. Brazilian authenticity: The rhythms (telecoteco on the tamborim, surdo marking, syncopation in the clarinets) capture the spirit of samba without falling into caricature. It's easy to imagine this playing at a street carnival or civic event. Accessibility: The lines are not overly difficult (lots of repetition, reasonable tessitura for advanced amateurs), but with room for individual shine (e.g., implied solos in the saxes or piccolo). If "Zezito" is a tribute to Dr. José Tibagy de Mello (the beloved former mayor and figure from Tibagi, who passed away in 2021, affectionately nicknamed "Dr. Zezito" and a great lover of music), it makes perfect sense — the piece has a joyful, celebratory, and community-oriented tone, as if it were a samba-march to honor someone of the people. Have you managed to record or perform this with any band yet? Or do you plan to submit it to civic/marching band festivals in Paraná or Goiás? If you'd like, I can suggest some minor adjustments (e.g., reinforcing a counterpoint or simplifying a passage for easier performance), based on what I see in the score. Keep composing — works like this enrich the Brazilian band repertoire! 🇧🇷 (And for completeness, here's the translated title page info:) Zezito (Samba) Music: José do Carmo Silveira Jr.