| Future of Tomorrow - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Future of Tomorrow [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245F
Composed by Benjamin Yeo.
Sws. Cps. Full score. 24
pages. Carl Fischer Music
#CPS245F. Published by
Carl Fischer Music
(CF.CPS245F). ISBN
9781491158135. UPC:
680160916733. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Begin the Band #1 [Conducteur et Parties séparées] - Facile Music Sales
Combo - early intermediate SKU: BT.1237-06-070-MS Music for starting P...(+)
Combo - early
intermediate SKU:
BT.1237-06-070-MS
Music for starting Pop
Bands. Begin the
Band. Set (Score &
Parts). Composed 2005. 36
pages. Music Sales
#1237-06-070 MS.
Published by Music Sales
(BT.1237-06-070-MS).
ISBN 9789043123259.
9x12 inches.
English-German-French-Dut
ch. Starting a band
is always an adventure.
Once like-minded,
music-loving people have
gathered to form a group,
it can start. But, wait -
there’s still
something missing: the
music!New music groups
whose members do not have
much experience on their
instruments have special
demands. They need
not-too-difficult pieces
which focus on playing
together, and lead
quickly to that most
motivating of
achievements: the
band’s first
performance.Begin the
Band is perfectly
designed with these
demands in mind. Each
book in the series
contains four
entertaining,
great-sounding
arrangements and original
compositions in pop and
jazz styles, with added
scope to improvise. Each
piece consists ofa vocal
part, three accompaniment
parts and an easy part
for wind players, all in
four different keys: C, B
flat, E flat and C bass.
In addition, there are
parts for
piano/keyboard/bass and
guitar (with chords) as
well as drum kit and
percussion. All the parts
can be combined in any
way you like, to form a
pop band, jazz combo and
so on. The minimal
ensemble consists of a
vocal part (sung or
played by a wind
instrument) and one
accompanying instrument.
Let the adventure
begin!Includes songs by:
Joss Stone, Christina
Aguilera and many more
Een ideale
uitgave voor
gelijkgezinde
muziekliefhebbers die pas
een band hebben opgericht
- of van plan zijn een
band te beginnen. Nieuwe
muziekgroepen waarvan de
leden nog niet veel
ervaring met hun
instrument hebben,
stellen specialeeisen. Ze
hebben eenvoudige stukken
nodig die zijn gericht op
samenspel en leiden tot
de zo motiverende
beleving van het eerste
optreden. Begin the
Band is toegesneden
op deze eisen. Elk boek
van deze serie bevat
vieronderhoudende, goed
klinkende arrangementen
en originele composities
in de muziekstijlen pop
en jazz, met de
mogelijkheid tot
improvisatie. Elk stuk
bestaat uit een
zangpartij, drie
begeleidingspartijen en
een ‘easy
part’, steedsin C,
Bes, Es en C-bassleutel.
Er zijn aanvullende
partijen voor
piano/keyboard/basgitaar
en gitaar (met
akkoorden), evenals voor
slagwerk en percussie.
Alle partijen zijn te
combineren voor elke
denkbare bezetting, van
popgroeptot jazzcombo,
enz. De minimale
bezetting omvat de
zangpartij (gezongen of
gespeeld door een
blaasinstrument) en een
begeleidingsinstrument.
Laat het avontuur maar
beginnen!
Die
Gründung einer Band
ist immer ein Abenteuer.
Haben sich erst
genügend
musizierfreudige
Gleichgesinnte zusammen
gefunden, kann es
losgehen. Aber halt -
etwas fehlt noch: die
Musik! Neue Bands, deren
Mitglieder nicht allzu
viel Erfahrung auf ihren
Instrumenten mitbringen,
haben besondere
Bedürfnisse. Leichte
Stücke sind gefragt,
die den Schwerpunkt auf
das Zusammenspiel legen
und schnell zum
motivierenden
Erfolgserlebnis der
Gruppe führen: dem
ersten gemeinsamen
Auftritt! Begin the
Band ist genau
auf diese Bedürfnisse
zugeschnitten. Jedes Buch
dieser Reihe enthält
vier unterhaltsame, gut
klingende Bearbeitungen
und Originalkompositionen
in den Stilen Pop
undJazz, die auch
Gelegenheit zur
Improvisation bieten. Zu
jedem Stück gibt es
eine Gesangsstimme, drei
Begleitstimmen und einen
Easy Part, das Ganze
jeweils im C-, B-, Es-
und im
C-Bassschlüssel. Dazu
kommen Stimmen für
Gitarre und Bassgitarre
(mit Akkorden), sowie
für Schlagzeug und
Percussion. Alle Stimmen
sind beliebig für
zahlreiche verschiedene
Besetzungen ergänzbar
- von einer
Minimalbesetzung aus
Gesangsstimme (auch von
einem Blasinstrument
spielbar) mit einer
Begleitung, über eine
Popband bis hin zur
Jazzcombo und vielem
mehr. Mit Liedern und
Stücken von Christina
Aguilera, Joss Stone,
Gary Barone und Hans
Kerkhoff kann das
Abenteuer beginnen!
Monter un groupe
est toujours un défi
captivant relever. Il
suffit de trouver et
réunir quelques
musiciens passionnés
ayant les mêmes go ts
et l’aventure peut
commencer.
D’accord, mais
qu’allez-vous
jouer ? Les groupes
fraîchement
constitués dont les
membres ont une
expérience
instrumentale limitée
ont besoin d’un
répertoire adapté ;
des pièces simples
axées sur le jeu en
ensemble et qui
permettent
d’atteindre
rapidement le but
suprême: monter sur
scène. Begin the
Band a été
conçu spécialement
pour satisfaire ces
exigences. Chaque recueil
de cette collection
contient quatre superbes
arrangements et
compositions originales
dans les styles pop et
jazz qui offrentun espace
de liberté propice
l’improvisation.
Chaque pièce comporte
une partie vocale, trois
parties
d’accompagnement
et une version
instrumentale de la ligne
mélodique (version
simplifiée de la
partie vocale), le tout
dans les tonalités Ut,
Si b, Mib et Ut BC. Sont
également jointes les
parties pour
keyboard/guitare basse,
guitare (avec accords),
batterie et percussion.
En combinant les
différentes parties
selon votre choix, vous
obtiendrez un groupe de
rock, un combo de jazz ou
tout autre formation.
L’instrumentation
minimale se constitue de
la partie vocale (ou
version instrumentale de
la ligne mélodique) et
d’une partie
d’accompagnement.
Que l’aventure
commence !
Formare un gruppo
è sempre una sfida
accattivante. E’
sufficiente trovare e
riunire alcuni musicisti
appassionati e con gli
stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitataesperienza
strumentale, hanno
bisogno di un repertorio
adatto: brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
questeesigenze. Ogni
raccolta di questa
collezione contiene
quattro superbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della
lineamelodica (versione
semplificata della parte
vocale), il tutto nelle
tonalit Do, Sib, Mib e Do
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta,otterrete un
gruppo rock, un combo
jazz o altre formazioni.
La strumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! VFormare un
gruppo è sempreuna
sfida accattivante.
E’ sufficiente
trovare e riunire alcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hannobisogno
di un repertorio adatto:
brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta diquesta
collezione contiene
quattro superbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificatadella parte
vocale), il tutto nelle
tonalit Do, Sib, Mib e Do
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta, otterrete un
gruppo rock, un combojazz
o altre formazioni. La
strumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! Formare un
gruppo è sempre una
sfida accattivante.
E’sufficiente
trovare e riunire alcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hanno
bisogno di un repertorio
adatto:brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta di questa
collezione contiene
quattrosuperbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificata della parte
vocale), il tutto
nelletonalit Do, Sib, Mib
e Do �. Sono
incluse anche le parti
per tastiera/chitarra
basso, chitarra (con
accordi), batteria e
percussioni. Combinando
le varie parti a scelta,
otterrete un gruppo rock,
un combo jazz o altre
formazioni.
Lastrumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! VFormare un
gruppo è sempre una
sfida accattivante.
E’ sufficiente
trovare e riunirealcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hanno
bisogno di un repertorio
adatto: brani semplici
concentratisull’es
ecuzione in gruppo e che
permettano di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta di questa
collezione contiene
quattro superbi
arrangiamenti
ecomposizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificata della parte
vocale), il tutto nelle
tonalit Do, Sib, Mib eDo
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta, otterrete un
gruppo rock, un combo
jazz o altre formazioni.
La strumentazione minima
ècostituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! $47.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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