Les

Fleurs Sauvages
Performer: Richard Clayderman
By Paul de Seneville

   
        
A

 
 = 80

         
        
 


1 3 4


      
2 sempre legato
3

         
5


       

   
4

     
   
        
    
 

      
               
simile con ped.
8

                

         
rit.

 
           
B

   
12

              
   
a tempo.


                   
  
15

 
   
          
 
  
   1 3
2 4
5 3
                   
     
18

            
 
       
  


 
             


  
To Coda

    
21

          
        
rit.

 


  resoluto
        
                    
                  
           
24
C simile

       
  
  
a tempo

loco

        
            
        


 
26

       
    

             
            
           
               
          
28

       
  
  

2
            
                   
         
30


        
      
rit. 


 

 
             
   
D 

 
33

 
    

     
 
    
    

             
      


 
37



                
      

 
              
E

  



41



              
   
rit.  a tempo.

    

                             
  

45

            
         
          

3
                    
    
      
49 

     
  

        
 
  
 
rit.

  
 
       
     


    
   
F

  
53

      
               
 
a tempo

                 
   


 
57

             
 
      
  

       
      
               
   
G

         


 
61


   
                
   


                     
                  
      
65

       
               
 

4
               

             
69 D.S. al Coda

       
    

     


 
  

      
 
72

 
    

rit.