Bassoon and Piano

with Piano

James Grant says, ” Slow jazz… What musical language could celebrate more appropriately the lyrical, sensuous, expressive character of the bassoon? The three Chocolates, in this version for bassoon and piano, are torch songs in the tradition of the passionate, tuneful ballads of the American 40s and 50s. The first two Chocolates, Valentine and Bittersweet, offer soulful narratives that speak to devotion, poignancy, romance, uncertainty, longing. The third Chocolate, Triple Mocha Indulgence, is slightly less soul-searching, more ebullient, and progressively becomes more animated (a sugar high, perhaps?) right up to its raucous close. Chocolates was commissioned and premiered in 1998 by violist Michelle LaCourse, to whom this music is dedicated.”

Chocolates can be heard on bassoonist Mary Stuckemeyer’s CD of the same title, published through Potenza Music.

with Piano

Concertino for Bassoon and Wind Ensemble was commissioned by Eastern Michigan University Bands and premiered by the EMU Wind Symphony with Christine Prince as solo bassoonist in April, 2004. The version with piano accompaniment was premiered at the 2006 International Double Reed Society conference. It is a dramatic, one-movement work that showcases the performer’s lyricism and technical facility.

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

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

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 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.

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 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

David von Kampen’s Four Short Pieces for bassoon and piano is a short work with movements titled Nimble, Removed, Longing, and Manic.

with Piano

Inspired by Gordon Jacob’s Four Sketches for bassoon and piano, Hanna’s work of the same title brings to life four different sketches using his own compositional voice. Like Jacob’s work, Hanna retains a sometimes humorous, sometimes reflective, yet always intensely colorful and inspiring point of view. The movements are titled “It’s a Circus In Here, Jasper!”, “The Mighty Sea”, “Front Porch Reminiscences” and “Spaghetti Western”.