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  • Rather Be

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    JUAN ANGEL MONSALVO CERVANTES
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    The document appears to be sheet music or song lyrics with annotations. It contains musical notation symbols along with written instructions at various points in the song. The instructions reference parts of the song to skip, codas to start or end at, and places where the recording should begin or end.

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    Rather_Be

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    The document appears to be sheet music or song lyrics with annotations. It contains musical notation symbols along with written instructions at various points in the song. The instructions reference parts of the song to skip, codas to start or end at, and places where the recording should begin or end.

    Copyright:

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

    Rather Be

    Uploaded by

    JUAN ANGEL MONSALVO CERVANTES
    The document appears to be sheet music or song lyrics with annotations. It contains musical notation symbols along with written instructions at various points in the song. The instructions reference parts of the song to skip, codas to start or end at, and places where the recording should begin or end.

    Copyright:

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

    Rather

    Be
    rginally by Clean Bandit and Arranged by Real Li

         
    Arranged even more by Mollie B.


                  
                            
    The recording starts at the beginning when you do the coda. Start here



                     
    Skip this part the second time

                      
       
    5

      
           
                         
    11
    
    2

                  
               
    19

       
                                             
    26

          
                                  

    31

     
                                     
       
    37

      
                                                  
     
    42

                
         
                
              
    47 To Coda D.C. al Coda

                    


                        
    54

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