MP3 Collection No.

22*)

SE ELA PERGUNTAR
Dilermando Reis
Tuning: Arr. and fing. by I.Poschoito (10/89)

4*) 
E; B; G; D; A; E


Andante [≈
2  1  2 
 3
    1   3 1 2 4    1 

    
  3 
1 13 3 2



Guitar 0 

 
0
Espressivo


0

4   3 
V

    
0  0


  2    
Andrey Nosov's Guitar School... Only the Best...


IV

  2 
4 1



    
  
4 0
4 1


3 3 2


0

4 
3

2  1 2  3
   

  1   3 1 2     2 

 
II

         43 
8 13 3


2


4 
1 0 

 
0
_3
2

  3    
    
     4            
VII IX

    41 
_ _ 4 2 4

 
4 4 2

 3   
12 3 2
3


1
2


 

4  
 2 1 2 
 3
       1  3 1 2 4    1 
_




4

      3 
16 _2 13
_3 3 2



0 

 
_1 0


0

  3 
V

    0 0    1


    2 
4

IV

 2 
20 1

 


  4
  4
 2
3


3

      
0 4

      
              
_ 4

  
_ V 4 4 4 2

   
4 1


 _ 4 3


4 4 3
24 0 1 0  3
2  2 

 
3 0

 
0


0 0

     
   1 3  2 3 1 2  4 3  
 
VII

    41   0 0
28 13 31 0

   
 3 1 2


 3 2

)
* From A.Nosov's archives of sheet music
https://www.guitarnosov.com
         0   
      
II

      0    00 
4 2 _2
32 0 4 4


3 2 3

 
0

 
0 0
1

0 3

  4 3 
 3 
 2   2    
IV _ 

    12   12 


   3    
4
4


37

 


 
1 

 
2 
 0

4 2 1 4  3 
Andrey Nosov's Guitar School... Only the Best...

3 4 0 
VII

   2   2 
 2    
_
3

 
41 0

 
 1


 4 3



4
3
0

                 
IX

      
   
VI

     
4 _


4 4

     
45
3 2
2 3 2
4 3
3 1
 
 

II
4 

     2   2  
_

0   
IV

    
4

      00    00    3   
4 2 _2
49 4 4

  
3 2 3

   

1

0 3

3 4 2 1 3

   4 0
  1  


 12   12 

 
3

 
54 4
   


 
 


2 
 0 0

4  3   4 
VII

     2    2 
_ VIII
3

     


 
58 0

   
1


2 4 3 2 3

4


3 2

 
 2  1  44
Fl.12

  3    
VII

  
4

 0 0
62 64 4 65
0 4


4

 _2

 3 1 2    


2
 SCHEME OF COMPOSITION *)
Step 1: "0" (pickup Measure) to "64" measure inclusive (measure numbers are shown in figures in the boxes).
Step 2: transition to the "1" measure and from the "1" measure to the "31" measure inclusive.
Step 3: transition to the "65".
Let me also remind you that according to the rules of notation,
the measure numbers are shown in the beginning of the measures.

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