[1] When Villa-Lobos travelled home to Brazil in June 1930 to fulfill some conducting engagements, it was his intention to return to Paris in a few months' time.

However, when the Revolution of 1930 brought Getúlio Vargas to power, it became impossible for a time to travel or make payments abroad.

As this following development reaches a climax in preparation for a stretto, the band abruptly enters and transforms the character of the composition.

A third section ensues, introducing a new atmosphere of percussive sounds, including many characteristic Brazilian instruments: the camisão (a single-headed frame drum), caxambu (a double-headed barrel drum), tartaruga (a sea-turtle shell), tambu and tambi (low and high stamping tubes, also used at the outset of Chôros No.

The sound of the battery gradually diminishes to link to a fourth section having the function of a recapitulation, ending with a series of stretti.

The work is rounded off with a final coda, ending in a surprising pianissimo given to the string sections of the two orchestras.