Short Description: The sheet music is a note-for-note transcription of the
hit single of "Bye Bye" (Cro) for vocal & instruments: vocal, choir, tenor saxophone, trumpet, trombone, piano, violin, viola, violoncello, double bass, drums
Licensed Territory: worldwide
Instruments: Vocal, Choir, Tenor Saxophone, Trumpet, Trombone, Piano, Violin, Viola, Violoncello, Double Bass, Drums
Music & Words by: Cro (Carlo Waibel)
Level: 2 (of 5)
Pages: 26 (12 score + 14 parts)
Order No. 101-505-8018d
Video: Please click on the video icon above!
Pay attention: Here you find the piano edition with vocal of Bye Bye (Cro).
The following instruments you find in the score and mostly as parts: tenor saxophone (also as melody in C), trumpet (also as melody in C), trumbone, piano, guitar (only chord symbols), second keyboard (only some instructions in the score), violn 1, violin 2, viola, violoncello, double bass, drums, percussion (only with instructions in the score).
The score shows how nowadays an effective pop arrangement may look like. Here comes a short analysis: The piano presents a turnaraound of two bars, which is repeated during the whole verses. The chord progression is I - IV - vi - V. I and IV are represented by open chords (without third). What has been unimaginable even a few years ago: V is represented by sus4add3 chords, what means that you may listen at the same time to the third and the fourth of the chord (e.g. from the violin 1 and 2) - a very strong dissonance! But we don't notice this dissonance, because the remix let us feel only a sort of colour or mixture. Why? The dissonant tones are in the background and are distinctable ony for trained ears.
In the chorus and in the pre-chorus there is a turnaround in two bars, too: vi - IV - ii - I - V. Like in the verse the normal structure of the chords in thirds layers is ruptured: even if the thirds are sounding, the added second, sixth und eleventh are disturbing these layers. It is a fact: The time of simple cadences in pop has passed away for a long time. The chord stucture is quite complex, but the chords are following each other very regualarly in a two-bar-schedule. It is remarkable that the V is not followed by the I. And the leading note, that is lying in the bass, is not leading up to the root, but downwords in a bass progression. This loss of relevance of the leading note is typical for this century in pop. Striking in the chorus are furthermore the high string melodies, the choir and the brass licks that intensify the quality of the feelings presented there. This is typical for a chorus like it has been in pop for ages.
The rhythm section plays very regularly, almost like a drumcomputer (even if it is recorded live), but the rhythm structure is interrupted several times by breaks.
We can transpose this tune for you. This is how it works:
1. Order it in the original version.
2. Order our article Transposition B.
3. Send an informal email to firstname.lastname@example.org (subject:“Transposition”). In the email please indicate the title of the original as well as the key desired.
You’ll receive the transposition within a couple of days as a pdf-file you can open using your password for the original version.