SKU: A0.1500108

Speak Your Mind, Compromise - Barter, Trust, by Paul Burnell, composed 2000 for wind quintet and other instruments as required. 

Flute, Oboe, Clarinet in Bb, Bassoon, Horn in F 

Individual parts can be used for rehearsal. In performance the combined score/part can be used - each wind quintet instrument plays as written, with the bassoon playing as if with a bass clef, the others as if with a treble clef. 

Eb and alto clef parts (based on the horn in F) are also available to enable inclusion, in a larger ensemble, of alto saxophone, tenor horn, viola. 

Programme Note 

I wanted to write a piece that took inspiration from one aspect of the political process. The starting point was a quote from William Burke (1729-97): All government, indeed every human benefit and enjoyment, every virtue, and every prudent act, is founded on compromise and barter.  [Speech on Conciliation with America, 1775] 

This quote did not in itself suggest to me all that was required, and so I tried to suggest the ideas of 'SpeakYour Mind' and 'Trust' in the other two sections. 

The music is presented as a combined score/part and I felt that in this context the idea of musicians playing within a single 'forum' would have an extra resonance. The music is presented on two sides of a single page, and I deliberately preceded the third section 'Trust' with the instruction 'turn over...'. In this way I hope to evoke the idea of 'turning over a new leaf'.

SKU: A0.589230

This original composition for bassoon and harp by Monika Durbin is a fantasy-like piece in G minor. Advanced level, 3 minutes. Bassoon part makes use of both bass and tenor clefs. Harp part was written for a full-sized lever harp tuned to Eb major, but would also work nicely performed on a pedal harp. There are a number of clearly-marked lever changes, as well as the use of harmonics and fingernail glisses. Includes a score for the harpist and a separate bassoon part.

SKU: A0.596418

A solo for bass clef instruments by composer Daniel Hay. The audio sample is voiced in bassoon but the composition is appropriate for most bass clef instruments.

SKU: A0.1350489

This jazz composition is based on the hauntingly beautiful 15th century medieval tune that is commonly used for the Advent carol O Come, O Come, Emmanuel.  I have reharmonized it with the accompaniment in a Key Signature a fifth above that of the melody.  The accompaniment, part 2, has a broken two chord ostinato throughout written as a walking bass line.  I have altered the melody, part 1, and moved much of it to the off beats.  As in period early music, I allow occassional dissonances in order to keep the ostinato.  This piece makes a wonderfully useful and unique addition to the season's repertoire.  (I have also published a version on this site with text so it can be sung by a soloist or unison choir with piano accompaniment.)  (Also as a piano solo.)
range - part 1 melody - 10th, 3rd space C to high E; part 2 walking bass line, octave and a half, bass clef low A to D above middle C
2 pages score, 1 page @ part,  2:05 minutes.

SKU: A0.1013485

This is a lead sheet of Ave Maria by Bach/Gounod in bass clef. Intended for bass clef soloists such as cello, trombone, bassoon, etc who are looking to add accompaniment in an easy way. This is great for wedding gigs and the like.

SKU: A0.1487747

These are eleven of the most well-known dances of the Renaissance set in five movements and selected from the famous collection entitled Terpsichore, published in 1612 by Michael Praetorius. They are sure to be a welcome addition to the elementary bassoon repertoire and make a pleasing performance item at a recital. The bassoon part is in the bass clef throughout and the highest note is usually the D above the bass staff. In a couple of pieces, the next note E is used.

By the time Michael Praetorius published his dance collection, he was one of the most famous musicians in Germany. The name is pronounced “terp-SI-cory” and rhymes with the word “hickory”. The original publication consisted of 312 dances in four, five and six parts. Although the dances were probably conceived for string ensemble, Praetorius was well aware that in practice they would be played by any instruments that happened to be available.

These arrangements for bassoon and keyboard are based on the original 1612 publication. The music sounds more authentic using a harpsichord rather than a piano, or the harpsichord sound of a digital keyboard. The keyboard part may be interpreted quite freely with ornamentation added as appropriate. During the Renaissance, it was common practice to combine separate dances to create something of more substantial duration. A similar practice is used in these arrangements which are as follows: 1. Three Gavottes; 2. Two Ballets; 3. Two Bourées; 4. Two Courantes and 5. Two Voltas.