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Ave verum corpus (Hail, true body) is a motet that has be arranged for Tuba Quartet (EETT). This is perfect for a recital or church service and the parts can be doubled so it can be played by a larger ensemble. Learn More

with Piano

Mozart – Concerto in A major for Clarinet and Orchestra, arranged and edited for Bassoon by Myles Mingyuan Yang.

The piano reduction is based on Henri Kling’s edition which was published by Leipzig: Breitkopf und Hartel, n.d. (ca. 1883). Plate 16273. The arrangement is kept in the original key for bassoon players to better know the original work. Using the original key will also help students find piano collaborators. The bassoon part in this edition is transposed and edited by Myles Mingyuan Yang from traditional clarinet practice. Some phrases have been modified to better suit the bassoon. Some dynamic markings have been added and edited in the solo part by the editor. Grace notes before trills have been omitted so performers can choose for themselves to either start on the upper auxiliary or lower auxiliary. The piano reduction has been modified to keep the chord relationship and better fit with the bassoon texture via octave displacement in certain sections to keep the appropriate harmonic relationship of the bassoon line. Cross staff chords are rearranged to stay in the same system with clef changes. Some dynamic markings and articulations in the piano reduction have been modified to enhance balance and match articulation with the bassoon.

Suggested articulations and dynamics have been added by the editor. Bowing marks are occasionally added to help with showing motive shapes. Suggested fingerings have been provided in the practice notes on pages 1 and 2, but they may not work on every bassoon. Finger names are indicated by Left/Right hand 1 2 3 4, counting from the index finger to the pinky. Repeated trill fingerings are only listed where they first appear in the music. Some musical passages can be challenging so alternate options are provided in the practice notes. Some alternative interpretations are also marked in the music as Ossia.

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with Piano; Queen Hatshepsut was one of the most enigmatic and interesting figures in ancient Egyptian history. She was the only woman to ever rule as "pharaoh" at a time when only males were allowed to hold that position. For this reason she is often depicted in carvings and drawings of the period wearing a beard or a man's clothing. She also had a secret love affair with an architect named Senmut, who designed many beautiful buildings in her day, including the dramatic Deir El-Bahari temple carved out of a jagged cliff in Thebes. Since no music of that period survives, this work is an imagining of a secret chant and private dance Hatshepsut may have performed for Senmut. The work begins with strange and beguiling chants in the bassoon, including exotic "multiphonics." (Bassoon fingerings for the mutiphonics are included with the score and part.) These are accompanied in the piano with musical gestures reflecting the closing of large, stone,tomb doors, marches of the temple priests, and amagical sprinkling of ancient chords. The dance that follows is in the spirit of the infamous "Dance of the Seven Veils," in which, during each section the female dancer sheds another layer of covering and increases the pace. beginning slowly, each of the seven sections build in peed and motion leader both the dancer and her audience into a furious, wild, spinning finale. Learn More

with Piano: The 1st movement alternates between free, cadenza-like material and metered, coordinated passages. The 2nd is playful with soaring, lyrical melodies. Commissioned for Diane Boyd, premiered at the 2000 N.F.A. Convention in Columbus, Ohio. Learn More

Troupin’s sound-world is dramatic and full of vitality. His Introduction and Dance for wind quintet was composed in 1964. In this work the colorful and contrasting sections combine in charming balance to make a memorable concert feature. Because of the character of the music Introduction and Dance also makes a rousing encore and an effective contest piece. Learn More

with Piano: In 3 movements: Con Forza, Adagio, and Allegro Pesante. Inspired by the neo-classical “Gebrachmusik” of Hindemith, this early work by the composer builds upon the traditional sonata form. Contrasting themes in the the first movement are developed and combined in numerous manners within a modified sonata allegro form. The second movement uses a derivative of the Russian folk tune, “Bears Are Sleeping” for its second theme within a ternary form. The third movement contrapuntally combines and develops themes in a virtuosic, modified rondo. Sonata for Trumpet and Piano has been recorded by Grant Peters on the CD “From the Hills.” Learn More

E-flat Clarinet, Solo B-flat Clarinet, 3 B-flat Clarinets, Alto Clarinet, Bass Clarinet, Contralto Clarinet and Contrabass Clarinet

Beethoven’s Sextet for Two Horns and String Quartet, Op. 81b is a bit of an oddity in the composer’s catalog. The sextet for the very old-fashioned instrumentation of two horns, two violins, viola and cello, is especially rare. The work seems to have been written around 1795, in the period when Beethoven was beginning to make his way in Viennese society as a composer and keyboard virtuoso after a period of study with Haydn. The work has the light-hearted, easy-going tone of the serenade/divertimento tradition, although the way that Beethoven writes for the horns makes the Sextet unusual. In this work, the horns are featured, with brilliant fanfares and technically challenging passages, while the four strings are relegated to a subsidiary role. In this arrangement, the Eb clarinet and a solo Bb clarinet play the role of the horns, while the rest of the choir assume the position of the string parts.

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with Orchestra; "Concerto for Bassoon" by Howard J. Buss was composed during 2016 and 2017 and is dedicated to Dr. Keith Sweger. This work was created in two versions – one for bassoon and piano, and the other for bassoon and orchestra. Cast in two movements, "Reminiscences" and "Excursions", the music spans a wide range of moods and timbral atmospheres, ranging from lyric tenderness to forceful, aggressive sections: (19’) Grade V-VI.

Can also be played with the Euphonium as the solo instrument.

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A tribute to St. Francis of Assisi, the venerated Catholic friar, preacher, founder of several Orders, and lover of animals and the environment. In 2 programmatic movements, The Birds, and The Wolf, this work musically portrays two of the many well-known stories of how Saint Francis communicated with animals. Saint Francis and the Animals was commissioned by Kathleen Jones for ClarinetFest 2013 in Assisi, Italy. Finalist in the 2014 Newly-Published Music Competition of the National Flute Association. Learn More

"Triptych for Violin and Piano" by David M. Sterrett. A “triptych” is a musical collage of three contrasting movements unified by a common musical element – in the case of this piece, each movement is in A-B-C-B-A form. While the movements are unified in matching formal scheme, each exudes a different style and character. The first, Scherzo, jokes and jabs with jagged lines and snapping gestures that are sometimes humorous and sometimes aggressive. The second movement, Rhapsody, is the emotional centerpiece of the work and contrasts the snarky character of the Scherzo with gentle, lush, lyrical lines which convey a sense of loss and longing, and ultimately the restorative power of hope. The final movement, Tarantella, follows with its own unique style, a flashy, quick and energetic dance, slightly dark and grim in character, though at times also joyous and playful. Piano score and solo part is included. (11’40”) Grade V. Learn More

"Solos for Celebrations and Remembrances" for solo trumpet or horn by Roger C. Vogel is a collection of 12 short songs for special occasions: 2 for birthdays, 3 for weddings, 2 for remembrances, one for an anniversary, and one each for Irish, Jewish and Italian celebrations. This is a fun and practical “must” for all trumpet players to have in their repertoire. Learn More

"Solos for Celebrations and Remembrances" for solo trombone, or euphonium, or bassoon by Roger C. Vogel is a collection of 12 short songs for special occasions: 2 for birthdays, 3 for weddings, 2 for remembrances, one for an anniversary, and one each for Irish, Jewish and Italian celebrations. This is a fun and practical “must” for all trombone, euphonium or bassoon players to have in their repertoire. Learn More

"Solos for Celebrations and Remembrances" for solo saxophone (any) by Roger C. Vogel is a collection of 12 short songs for special occasions: 2 for birthdays, 3 for weddings, 2 for remembrances, one for an anniversary, and one each for Irish, Jewish and Italian celebrations. This is a fun and practical “must” for all saxophonists to have in their repertoire. Learn More

"Solos for Celebrations and Remembrances" for solo oboe by Roger C. Vogel is a collection of 12 short songs for special occasions: 2 for birthdays, 3 for weddings, 2 for remembrances, one for an anniversary, and one each for Irish, Jewish and Italian celebrations. This is a fun and practical “must” for all oboists to have in their repertoire. Learn More

"Solos for Celebrations and Remembrances" for solo flute by Roger C. Vogel is a collection of 12 short songs for special occasions: 2 for birthdays, 3 for weddings, 2 for remembrances, one for an anniversary, and one each for Irish, Jewish and Italian celebrations. This is a fun and practical “must” for all flutists to have in their repertoire. Learn More

"Solos for Celebrations and Remembrances" for solo clarinet by Roger C. Vogel is a collection of 12 short songs for special occasions: 2 for birthdays, 3 for weddings, 2 for remembrances, one for an anniversary, and one each for Irish, Jewish and Italian celebrations. This is a fun and practical “must” for all clarinetists to have in their repertoire. Learn More

TOCCATA AND RETRO-INVENTION for solo piano by Howard J. Buss is dedicated to University of Arizona piano professor, Dr. Rex Woods. The titles of the two movements of this composition form a kinship with the toccatas and inventions of the Baroque era, but with a modern twist. They capture the spirit of the earlier forms, rather than the actual compositional procedures. Learn More