Music from the Ottawa River where rafts of lumber were floated to sawmills guided by men perched on the logs. The arrangement recalls the vibrant, outdoor life of the raftsmen in a setting for the complete woodwind choir. An earlier version was performed by the Toronto Symphony Orchestra at children’s concerts to demonstrate the woodwind instruments. For Pic, 2Fl, 2Ob, EH, 2Cl, BCl, 2Bn, CBn, 2ASx, TSx, BarSx.
The arranger pouts while stating, “This arrangement can be performed without the English horn and contrabassoon parts.”
There are seven Discourses each treating non-traditional playing techniques and notations. Any number of the seven can be performed in any order. All are for four bassoons except Discourse VI that adds a contrabassoon to the four bassoons. More than one player can play each part.
The two contrasting movements of Christopher Weait's "Reverie and Revelry" was composed for Trifecta, the trio that premiered the work: Lori Baruth, clarinet, David Oyen, bassoon and and Chialing Hsieh, piano. The set comes with parts for clarinet in A, bassoon and a piano score.
This is the printed version of the score and parts, ready for shipping to you. A downloadable PDF version for self-printing is also available.
Mozart's interesting canon is first set out for unison performance by all instruments, then the canon melody is scored in a four-part version that can be played by any combination of woodwind instruments. You can use it as a warmup from the beginning or as a concert selection by starting at a half-note before measure 27.
Parts are provided for: piccolo, flute, oboe, English horn, E-flat clarinet, 2 clarinets in B-flat, bass clarinet, E-flat and B-flat contrabass clarinets, bassoon, contrabassoon, 2 alto saxophones, tenor saxophone, baritone and bass saxophone.
Three easy chorales as warm ups, church or concert pieces for 4 bassoons with an optional contrabassoon part for each chorale: #1. Hasten, Immaneul (Anonymous, 1679); #2. Now All the Woods are Sleeping (Anonymous, 1529); #3. A Might Fortress (Martin Luther, 1529). The chorales are shown in performance scores so that players can exchange parts. Dynamics and clear articulations are shown. For the best balance of parts, have more players on the soprano (Bassoon 1) and bass (Bassoon 4) parts. One player each on Bassoon 2 and Bassoon 3 will provide alto and tenor voices.
This very short tango is in F minor with a middle section in C major. The range is limited: from second space C (C3) to E-flat above middle C (E-flat 4). The piano part is not difficult. The 4/4 meter is mostly divided into eighth notes in 3 + 3 + 2 patterns.
BULLETIN! This selection was added to the Ohio Music Education Association's (OMEA) Solo and Ensemble List in Grade C in 2014.
Listen to the premiere of Weait's Tango for Bassoon and Piano
Five More First Solos contains easy music for new bassoonists. The solos are a bit more challenging than those in The First Six Bassoon Solos [1218A]. The range is from low F (F2) to fifth-line A natural (A3). The piano parts are easy. Meters used are 2/4, 3/4 cut time and 6/8. In addition to whole notes, half notes and quarter notes, eighths, sixteenths and dotted rhythms are used.
No.7 Andantino (0'35) in 6/8 meter
No.8 Moderato (1'35) in Cut time
No.9 Bass Line Minuet (1'15) in 3/4 meter
Distant Thunder with Rain is for native American flute and standard woodwind quintet. It was inspired by and written for Michael Cox and the members of the QuintEssential Winds, all faculty at the Capital University Conservatory of Music. It was premiered by them on October 31, 2011 in Huntington Recital Hall as part of the 2011 NOW Festival of Contemporary Music. The music depicts Night, Dawn, Sunrise, Full Daylight, Hunting, Distant Thunder with Rain, Sunset, Evening and Night.
Composed for 8 flutes, this work is based on clusters of pitches mainly between the notes in the two octaves above the flute's low d-natural. Rhythms are not difficult. The title is intended to invoke Calliope, the Greek Muse of heroic poetry, not the keyboard-operated steam whistle. It is dedicated to Dr. Lisa Jelle and the Capital University Conservatory of Music Flute Ensemble who gave the first public performance.
Composed to provide some practice in reading and playing sub-metrical rhythms: including 8ths, 16ths, triplet 8ths and a few triplet quarter notes. All rhythms appear on the beat and in syncopated form. The four parts swap soprano, alto, tenor and bass roles. The ranges are from low B-flat (B flat 2) to F above middle C (F4). The music follows a 16 measure blues progression throughout. Far from being a dull study piece, it presents a lively, "hot" result.
This is the pre-printed, paper version of the work. A PDF digital download is also available.
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