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  • Cinta - Luar - Biasa-Part - 1 (New) PDF

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    Fadil adi
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    The document appears to be a musical score written in an unfamiliar notation system. It contains multiple sections with rhythmic notation represented by symbols. The sections include transitions between parts like "To Coda" and "D.S. al Coda", indicating a structure with repeats. Attribution is given to composers Andmesh Kamelang and arranger Abror.

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    The document appears to be a musical score written in an unfamiliar notation system. It contains multiple sections with rhythmic notation represented by symbols. The sections include transitions between parts like "To Coda" and "D.S. al Coda", indicating a structure with repeats. Attribution is given to composers Andmesh Kamelang and arranger Abror.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    60 views2 pages

    Cinta - Luar - Biasa-Part - 1 (New) PDF

    Uploaded by

    Fadil adi
    The document appears to be a musical score written in an unfamiliar notation system. It contains multiple sections with rhythmic notation represented by symbols. The sections include transitions between parts like "To Coda" and "D.S. al Coda", indicating a structure with repeats. Attribution is given to composers Andmesh Kamelang and arranger Abror.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    of 2

    Part

    1 CINTA LUAR BIASA


    komp : Andmesh Kamelang

               
    arr : abror

                                 

     = 80

             
                             

        
    6

            
                                 
    11  To Coda

               
                                
    17

        
                                   

      
    22

        
                               

           

    27

                    
                      

    32 D.S. al Coda

            
                                  


    37

        
                  
                  

    42

                                             
      
    49

    xvideos.com
                                   

       
        

    54

             
           

             
    59

    2 xvideos.com

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