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  • Benzinho Sax Tenor Contraponto

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    antonio jose
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    The document appears to be musical sheet music containing notes and markings. It includes musical notation written in a unfamiliar alphabet as well as some common musical markings like repeats and endings. The sheet music has multiple staves suggesting it is a composition for multiple instruments played together.

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    Benzinho sax tenor contraponto

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    The document appears to be musical sheet music containing notes and markings. It includes musical notation written in a unfamiliar alphabet as well as some common musical markings like repeats and endings. The sheet music has multiple staves suggesting it is a composition for multiple instruments played together.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    13 views1 page

    Benzinho Sax Tenor Contraponto

    Uploaded by

    antonio jose
    The document appears to be musical sheet music containing notes and markings. It includes musical notation written in a unfamiliar alphabet as well as some common musical markings like repeats and endings. The sheet music has multiple staves suggesting it is a composition for multiple instruments played together.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    of 1

    sax

    tenor
    Benzinho

                  
    Jacob do bandolim

      = 84
          
       
            

            
                           

    8

                 
     
                     
     
    15

     
                    
        

     
    22

                
    2. 
           
                     
       
    32 1.

       
                   
                  
     
    38


             
    3 3 3 3 3 3


    3

                    
            
        
    45

      
                             
        
    51

       
    3

              
                    
     
    59
    3

               
     
                       

    D.C. al Coda 

       
    66
    1. 2.
    3

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