Creo en Mi

(Piano accompaniment)

Natalia Jiménez
transcribed by White Admiral

Moderately  = 84
          
        
  

        
Piano

       
  
     
      
1st verse

        
4

       

     
 
      
  
      

          
8

         
  

       
 
      
  
      

          
    
12

       

     
   
   
    
      

Page 1
            
1st chorus

            
16

        

  
          
          

   

               
      
20

         

                   
   
  
          
23

             

     
        
   
    
 
    
      
2nd verse

   
26

       
    
       
   
       
      
         
     
30

       
   
         
     
      

Page 2
           
34

      
     
  
          
     
      
         
2nd chorus

     
38

          

   
   
         

     

               
  
42

           
                  
    
  

               
      
45

      

            
          
  

Bridge

           
48

                     
               
         
  

Page 3
            
51

                       
 
                        
  

            
54

               
     
                    

    
         
3rd chorus


58

               

   
   
         

     
       
           
62

 
           
                  
    
  

               
      
65

      

                 
     
  


Page 4
     
           
68

    

 
          
   
    
    

   
71

         

    
   
  

Page 5