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This article discusses the procedures adopted by the author on the first critical edition of Variations on Two Rows for Percussion and Strings written by Eleazar de Carvalho in 1968, which is considered the first Brazilian concerto for percussion. Conductor, composer and pedagogue, Carvalho (1912-1996) is considered one of the most important Brazilian conductors. A Koussevitzky protégé (like Leonard Bernstein), Carvalho was a professor of conducting at the Tanglewood Festival from 1947 to 1962, as well a professor at The Juilliard School and Yale University. Among the many conductors who studied under Carvalho are Seiji Ozawa, Claudio Abbado and Zubin Mehta. Eleazar did not achieve the same success as composer along his career, and after a 20 years hiatus without composing, he writes a concerto for percussion utilizing graphic and proportional notation, similar to that employed by Stockhausen in Zyklus Nr.9. The composer utilized traditional notation for the string orchestra and employed dodecaphonic technique. The analysis in this work employed as main tools the set class theory. In addition, the article discusses the edition process of the graphic notation employed, and the insertion of performance notes in the critical edition based on an interpretative study.

The Critical Edition Process of the first Brazilian Concerto for Percussion and Orchestra