Karl Philip Emanuel Bach's brief piano study freely arranged and harmonized for flute and clarinet as an ideal concert opener or encore.
I first arranged the melody for woodwind quintet in 1960. This version for 2 oboes and 2 bassoons is almost the same as that one. This anonymous tune appeared in “Apollo’s Banquet”, published in 1669. The “waits” were town musicians and the term also applied to street singers of Christmas carols. Sometimes specific tunes represented their towns, hence “The London Waits”. The melody is more recently known as a Christmas carol entitled “Past 3 O’Clock” on a Cold, Frosty Morning”.
A printed version is available at SKU [6010B]
This intriguing canonical movement is the final one in Marcello's Sonata II for 2 cellos and continuo. No continuo scored for the movement. It is a pure duet for the two instruments. Christopher Weait and Margaret Barstow Weait often performed it for children's and school concerts as an example of repetitive music. The duet can easily be performed by 2 bassoons.
A printed version is available at SKU 
Little Duck for bassoon and 'cello is one of the short duets that Christopher Weait and Margaret Barstow Weait performed at children's and school concerts. The music is drawn from "Roundelays / Danses à la Ronde" by Marius Barbeau et al (Ottawa: National Museum of Canada, 1963) wherein the melody is entitled "The Lame Duck / Petite boiteuse" (p.37). It makes a charming encore.
The piece can easily be played by 2 bassoons.
A printed version can be found at SKU .
Dialogues for Oboe and Clarinet was composed in a somewhat conservative style in 2017. The 3 movements are: Discussion (2'08), Deliberation (1'51) and Debate (1'28). Discussion is lively and rhythmical with jazz inspired solo passages for each player. Deliberation is a reflective lament. Debate is an argument in which the clarinet's melody is played in reverse by the oboe. Both instrument also invert their melodies perhaps to confuse their opponent. There are no extreme ranges for either instrument or non-traditional rhythmic or notational symbols.
Six Children’s Songs for 2 oboes and 2 bassoons is a spin-off from two previous arrangements: one for the OBOHIO double reed combination of 2 oboes (oboe 2 = oboe d’amore), English and bassoon  and the other for woodwind quartet of flute, oboe, clarinet and bassoon . The arrangements are dedicated to OBOHIO and its founders Robert and Bailey Sorton.
There is no tenor clef in the bassoon parts. Any number of them can be performed in any order.
Hard copies of this music can be ordered from [0510B] on this website.
Why let the brass players have all the fun? This fanfare, first set for 5 trumpets, pits the upper 3 oboes against the 4th oboe and English horn. Here is the PDF version. A hard copy can be found on the website at [0719B].
These duets supplement those of Volume 2 SKU . The upper and lower parts are of equal difficulty. The range is from low B-flat (B-flat2) to high F-sharp (F#4). More time signatures (2/8, 7/8, 5/4) and grace notes and quintuplets are introduced. There is no tenor clef. it is dedicated to the fond memory of my Toronto Symphony bassoon colleague, Wayland Mosher. A non-downloadable version is available at SKU .
NO. TITLE METER KEY DURATION
Both parts of these duets have notes in the octave between low F (F2) and open F (F3). The parts are co-equal; one part is not “easier” than the other. Rhythms for the entire volume are restricted to whole, half, quarter and eighth notes. The only dotted notes are dotted half notes. Two dynamics are introduced in No. 4: f (forte) and mf (mezzo forte). The duets are dedicated to C. J Broadhead, New Rochelle High School’s memorable choir director. A non- downloadable version is available on the website from SKU 
These duets supplement those of Volume 1 SKU . The upper and lower parts are of equal difficulty. The range is from low D (D2) to high F (F4). More dynamics are introduced (mp, p, crescendo, diminuendi, light and heavy accents). There is no tenor clef in the notation. Dotted quarter notes and duplet eights are introduced. The music is dedicated to the composer’s high school band and orchestra director Harry F. Haigh. A printed version is available at SKU .
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