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One of BrookWright's most popular titles, this piece is based on an original song by Lee Fisher which was written for Britain’s Got Talent star Charlie Green. Originally arranged as a tenor horn solo with brass band, it is now available here as a standalone work for band.

Difficulty Level: 4th Section +

Instrumentation:

Soprano Cornet Eb

Solo Cornet Bb

Repiano Cornet Bb

2nd Cornet Bb

3rd Cornet Bb

Flugel Horn Bb

Solo Horn Eb

1st Horn Eb

2nd Horn Eb

1st Baritone Bb

2nd Baritone Bb

1st Trombone Bb

2nd Trombone Bb

Bass Trombone

Euphonium Bb

Bass Eb

Bass Bb

Timpani

Percussion 1-2

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.

with Piano

Originally for flute solo and piano, the piano reduction is based on Carl Burchard’s edition which was published by Leipzig: Breitkopf und Hartel, Plate V.A. 2577. 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 Mingyuan Yang from traditional flute 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.

NOTE: Mozart arranged the music of this concerto in two different keys, C major for oboe and D major for flute, both numbered K. 314. The flute edition is the easier choice for the player who wants to learn and perform this music. The oboe edition is the more challenging of the two because the range is high on bassoon, making it an effective work to show off the top register of the instrument. Conversely, the more accessible bassoon range of the flute edition allows ample opportunity to display lyrical expression.

Edited for bassoon by Myles Mingyuan Yang.

with Piano

Originally for horn, the piano reduction is based on Carl Burchard’s flute edition which was published by Leipzig: Breitkopf und Hartel, Plate V.A. 2577. 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 Mingyuan Yang from traditional flute 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.

NOTE: Mozart arranged the music of this concerto in two different keys, C major for oboe and D major for flute, both numbered K. 314. The flute edition is the easier choice for the player who wants to learn and perform this music. The oboe edition is the more challenging of the two because the range is high on bassoon, making it an effective work to show off the top register of the instrument. Conversely, the more accessible bassoon range of the flute edition allows ample opportunity to display lyrical expression.

Edited for bassoon by Mingyuan Yang.

with Piano

The piano reduction is based on Carl Burchard’s flute edition which was published by Leipzig: Breitkopf und Hartel, Plate V.A. 2577. 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 Mingyuan Yang from traditional flute 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.

NOTE: Mozart arranged the music of this concerto in two different keys, C major for oboe and D major for flute, both numbered K. 314. The flute edition is the easier choice for the player who wants to learn and perform this music. The oboe edition is the more challenging of the two because the range is high on bassoon, making it an effective work to show off the top register of the instrument. Conversely, the more accessible bassoon range of the flute edition allows ample opportunity to display lyrical expression.

Edited for bassoon by Mingyuan Yang.

with Piano

The piano reduction is based on August Horn’s edition which was published by Leipzig: Breitkopf und Hartel,  Plate 5816-36. 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 flute 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. 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.

Edited for bassoon by Myles Mingyuan Yang

with Piano

Originally for horn, the piano reduction is based on Henri Kling’s edition which was published by Leipzig: Breitkopf und Hartel, n.d. (ca. 1881). Plate 15635 E.B. 2561. 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 horn 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. 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.

Edited for bassoon by Myles Mingyuan Yang

with Piano

Originally for horn, the piano reduction is based on Henri Kling’s edition which was published by Leipzig: Breitkopf und Hartel, n.d. (ca. 1890). Plate E.B. 2562. 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 horn 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. 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.

Edited for bassoon by Myles Mingyuan Yang

with Piano

Originally for horn, the piano reduction is based on Henri Kling’s edition which was published by Leipzig: Breitkopf und Hartel, n.d. (ca. 1890). Plate E.B. 2563. 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 horn 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. 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.

"Three Chansons" for Brass Quintet is a nice challenge for any High School or College group. These can be played as a set or individually. The set includes:

1. Dieu! qu'il la fait bon regarder!

2. Quant j'ay ouy le tabourin

3. Yver, vous n'estes qu'un vilain