Bassoon & Piano - Digital Download

SKU: IZ.PDP049

Composed by A.J. Vaas. Score and Parts. 21 pages. Imagine Music - Digital #PDP049. Published by Imagine Music - Digital (IZ.PDP049).

9 x 12 inches.

The Variations on Im tiefen Keller by Vaas consists of an introduction played by the accompaniment that leads to a brief cadenza for the bassoon. The soloist then states the 16-measure Theme. Eight measures of tutti serve as an in­terlude before Variation I, and a similar interlude precedes Variation II. A longer tutti (twenty measures) leads to Variation III, a slow exploration of the theme in the minor mode. A short cadenza connects this Variation to the Finale, a rollick­ing treatment of Im tiefen Keller in 6 I 8 meter. This is the longest portion of the work and contains two tutti sections which employ a variety of rhythmic pat­terns Vaas employs before bring the work to its conclusion.

Bassoon,Piano - Level 2 - Digital Download

SKU: A0.1316530

Composed by Angela Salvaggione. Baroque,Contest,Festival,Instructional. Score and part. 7 pages. Angela Salvaggione #905263. Published by Angela Salvaggione (A0.1316530).

This piece is based on a ground, or ostinato. That means it has a repeating pattern, in this case, eight bars. La Folia is a ground that’s been used by many composers over the centuries, including Corelli (Violin Sonata Op. 5, no. 12) and Vivaldi (Trio Sonata, Op. 1 no. 12), and more recently, Rachmaninoff (Variations on a Theme of Corelli) and Manuel Ponce (Variations sur Folia de España et fugue), and more recently still, Glen Shannon’s La Follia Variations for recorder ensemble. Many of these pieces are quite long to listen to, but are written for a variety of instruments and a variety of styles. Perhaps it will inspire you to try and write a variation yourself. You can have your teacher play the ground and you play your variation at the same time to see if you like how it sounds together.

 

Warning! DO NOT start this piece too fast! The opening theme is very easy, but after every eight bars, each variation becomes more difficult as you Level Up through the piece. Keep everything under control, and think of ways you can make each variation sound different – experiment with your dynamics and articulations.

 

Time: ca. 2:15

Key: D minor

Range: E2-Bb3

With large leaps and running scalar sixteenth note passages, this piece is appropriate for a second year student.

Once the student has purchased this piece, an adjudicator’s copy may be made. Teachers may purchase individual copies for each student’s use. Studio licensing is not available.

Bassoon,Piano - Level 3 - Digital Download

SKU: A0.1183370

Composed by Edward Elgar. Arranged by César Madeira. Children,Classical,Film/TV,Romantic Period,Wedding. Score and part. 8 pages. Sheet Music To Play Editions #783039. Published by Sheet Music To Play Editions (A0.1183370).

Salut d'Amour Op.12 by Elgar. Arrangement for Bassoon and Piano. With Full Score and Individual Parts. Enjoy it!

Sir Edward William Elgar (1857 - 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.

For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play

Instrumental Duet Bassoon,Instrumental Duet,Piano - Level 2 - Digital Download

SKU: A0.549851

Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and parts. 12 pages. Jmsgu3 #3555069. Published by jmsgu3 (A0.549851).

Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.

Wachet auf, ruft uns die Stimme

(Awake, the Voice is calling us) also known as: Sleepers Awake

Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera.

Fourth Movement

Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales.

Bach Overview

First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.

 History

Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.

 Style

It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top.

Revival              

Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.

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