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  • I Like Choppin - Sax Soprano

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    Ricardo
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    The document is a musical score titled "I Like Choppin" composed by Pierluigi Giombini. It contains musical notation written using symbols like quarter notes, eighth notes, and rests across five lines of staff representing different instruments or voices. The score has tempo, dynamic, and expressive markings to provide instructions on how the piece should be played and performed.

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    I Like Choppin - Sax Soprano

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    The document is a musical score titled "I Like Choppin" composed by Pierluigi Giombini. It contains musical notation written using symbols like quarter notes, eighth notes, and rests across five lines of staff representing different instruments or voices. The score has tempo, dynamic, and expressive markings to provide instructions on how the piece should be played and performed.

    Copyright:

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

    I Like Choppin - Sax Soprano

    Uploaded by

    Ricardo
    The document is a musical score titled "I Like Choppin" composed by Pierluigi Giombini. It contains musical notation written using symbols like quarter notes, eighth notes, and rests across five lines of staff representing different instruments or voices. The score has tempo, dynamic, and expressive markings to provide instructions on how the piece should be played and performed.

    Copyright:

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

    I Like Choppin

    Gazebo / Pierluigi Giombini


                              
       
     

                  


            
    4

                        1. 
      
          
      
      
    8 2.

     
         
                                 
    14

     
                       
               
    
    21



                                          

    28

      
                           
         
    34


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


    To 
     
    D.S. al Coda


    40


                        
                
    45

                               
           
     
    49

     

                                 
     
    1. 2.

     
    57

                


           
     
    64

              
                 
    1. 2.


    69

     

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