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Mambo Jambo | PDF | Latin American Music | Cuban Music
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Mambo Jambo

This musical composition is titled "Mambo Jambo". It contains notation and musical symbols throughout, indicating that it is a piece of sheet music. The sheet music contains multiple sections with changing time signatures, tempos, and instrumentation. It transitions between upbeat mambo-style sections and slower melodic sections. The sheet music provides the full musical composition through written notation.

Uploaded by

Giovanna Queiroz
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
424 views3 pages

Mambo Jambo

This musical composition is titled "Mambo Jambo". It contains notation and musical symbols throughout, indicating that it is a piece of sheet music. The sheet music contains multiple sections with changing time signatures, tempos, and instrumentation. It transitions between upbeat mambo-style sections and slower melodic sections. The sheet music provides the full musical composition through written notation.

Uploaded by

Giovanna Queiroz
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Mambo Jambo

Subtítulo

                  
Perez Prado /arr. Naohiro Iwai

    

 = 140
     

         
        
      
11

 
  
      
           
   
19

     
    
              
 
22

    
               
                
25

  

 
  
      
                 
29

                 


33
         
      
 

                   
         
     
37


       
41


              
     
To Coda

  
45 1. 2.


    
                
2

  
51

     
             
1. 2.


57

            
   
61


         

67 1. 2.


 
               

71


          
 
78

                                   
82

    

                  

87

  

               
          
90


           
           
94

        1.
            
                  
97
2.

 
 
3

                  
103

 

   
                        

1. 2.


111

      
   
117

   
     
 
                
 
121


 

  
      
            
125

  
    
   
129 D.S. al Coda


                      

  
131

           rit. 
  
135

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