SKU: A0.1091660

This classic track from the Electric Light Orchestra found a whole new audience when director James Gunn used it to great effect in the hit film “Guardians of the Galaxy, Vol. 2.� A favorite with audiences – both young and old – and now playable as an instrumental solo with piano accompaniment. Sure to be an audience – and performer – favorite! This arrangement from veteran performer and music educator Lawrence Underwood is available in versions for solo flute, oboe, bassoon, clarinet, bass clarinet, alto sax, tenor sax, bari sax, horn in F, trumpet, trombone, baritone/euphonium, tuba, mallet percussion, violin, viola, cello, or double bass (with piano accompaniment). Be sure to check out the other titles in this series!

SKU: A0.1317150

This is a theme and nine variations (divisions). Originally for flute, I've transcibed it for bassoon and realized the figured bass for piano. 

Though the piece doesn't have a wide range (Eb2 - Eb4), by the last divisions there are plenty of running sixteenth notes, and no rests to be found anywhere. That makes this a good piece for technique and endurance, without having to worry much about notes themselves.

You are encouraged to experiment with dynamics, articulations, and ornamentation.

SKU: IZ.PDP106

9 x 12 in inches.

Nabokov composed the Sonata for Bassoon and Piano is in two movements. The first of these bears the subtitle A Litany for Bassoon and Piano and contains elements of bitonality within a modified sonata form. A brief cadenza after the recapitulation leads to a closing section reminiscent of a modal folksong. The second movement begins with a march-like character, but changes tempo and style several times before the dramatic conclusion.

Bruce Gbur, bassoon, and Slawomir Dobrzanski, piano, presented the first performance of the Nabokov Sonata for Bassoon and Piano on a recital at Kansas State University, Manhattan, Kansas, on 27 February 2007. That performance was made possible through the kind permission of Mme. Dominique Nabokov, New York Ci_ty, and Richard Workman of the Harry Ransom Humanities Research Center at the University of Texas, Austin. I would also like to thank Mme. Nabokov and Mr. Workman for granting permission for the publication of this work. I am indebted to my friend Slawomir Dobrzanski for adding his fingerings to the piano score for this publication. I believe that the Nabokov Sonata for Bassoon and Piano will prove to be a significant addition to the bassoonists' twentieth-century recital repertoire.