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Flex-Ability: More Pops: CD Acc. (for All Instruments)

$12.99 USD
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Flex-Ability: More Pops Cover Image

Flex-Ability: More Pops: CD Acc. (for All Instruments)

Solo-Duet-Trio-Quartet with Optional Accompaniment

Arr. Victor López

Item: 00-30334

$12.99
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Description
The Flex-Ability series is ideal for solos, duets, trios, quartets, or any size ensemble, including woodwinds, brass, strings, percussion, and optional rhythm section, and includes an optional play-along CD. It is meant to be usable by all levels of ability for fun at home, in school or around the community.

The Four-Line Score Includes:
Line 1: Melody; Level 2 ½ - 3; intermediate range; sixteenth-note combinations; rock/jazz syncopation
Line 2: Harmony; Level 2 -- 2 ½; wide range; sixteenth notes; easy syncopation
Line 3: Harmony; Level 1 ½; limited range; dotted rhythms; some eighth-quarter-eighth syncopation
Line 4 (Bass): Harmony; Level 1; narrow range; simple rhythms (eighth notes); alternate note suggestions

The CD accompaniment is available separately and includes two tracks for each song: a performance track with the full demonstration recording, and an accompaniment track with only the rhythm section for you to play along with in solos, duets, trios, quartets, or larger ensembles. Titles are: Alegria (from Alegria) * American Idiot * Because of You * Boulevard of Broken Dreams * Gonna Fly Now (Theme from Rocky) * Hedwig's Theme (from Harry Potter and the Sorcerer's Stone) * Hips Don't Lie * Jumpin' Jack Flash * The New Girl in Town (from Hairspray) * We Are Family * Wonka's Welcome Song (from Charlie and the Chocolate Factory).

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Sample Pages

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Sample Audio
1 Boulevard of Broken Dreams --:--
2 Gonna Fly Now --:--

Boulevard of Broken Dreams

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Sample Video
Additional Details
Series: Flex-Ability Series
Publisher: Alfred Music
ISBN10: 0-7390-5333-7
ISBN13: 978-0-7390-5333-1
UPC: 038081330570
SKU: 00-30334
Instrumentation: CD Acc. (for All Instruments)

More about this title

Why we love this

The accompaniment CD transforms what could be a static reading experience into an engaging performance opportunity. You get two versions of each track—a full demonstration and a rhythm-section-only option—so students hear exactly what they're aiming for, then practice playing alongside a real band sound.

What to expect

Contemporary and immediately rewarding. These pop hits, Broadway cuts, and rock standards carry cultural weight that energizes learners at every level. Playing along with a full rhythm section creates the illusion of instant musicianship, transforming individual practice or a pick-up ensemble into something that sounds like a real band.

Who it's for

Any ensemble mixing instruments at varying levels of experience. The four-line score spans from beginner (simple rhythms and narrow range in the bass part) through early intermediate (syncopation and wider range in the top line), so a director can distribute parts strategically across a heterogeneous group.

How to get the most out of it

  • Start with the full demonstration track to absorb the groove and articulation style before moving to the accompaniment version. Hearing how the melody sits in the mix clarifies phrasing and dynamics across all four lines.
  • Lock in with the rhythm section on the accompaniment track by emphasizing the beat placement in your line. Even the simplest parts (bass line, harmony line 3) anchor the whole ensemble when they sit steadily on the pocket.
  • Balance melody and harmony carefully when playing multiple parts in the same rehearsal. Use the CD at different dynamic levels to help musicians hear their role without overshadowing others.

How to use it

Use these tracks for end-of-unit performances, community events, or informal demonstrations where you need polished-sounding results with minimal rehearsal time. The flexibility in instrumentation means you can pull together whatever combination of musicians are available and still maintain cohesion thanks to the recorded foundation.

Skills your students will build

  • Reading syncopated rhythms (rock and jazz swing styles across all parts)
  • Balancing melody against harmonic parts in a recorded ensemble context
  • Matching articulation and phrasing to a pre-recorded track
  • Playing across a wide or narrow range depending on assigned part
  • Responding to rhythm-section grooves (steady eighth-note patterns and dotted rhythms)

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