A passacaglia based on a nine measure progression in which each instrument has a distinctive part. For standard woodwind quintet. Moderately difficult.

These are arrangements of two melodies found in "Come 'A Singing Canadian Folk Songs" by Marius Barbeau, et al published in Ottawa by the King's Printer, 1974. 1. 'My Lonely Heart' was collected from Mme. Bolduc of Quebec City in 1918. 2. 'The Jolly Raftsmen' is a lumberman's song from the Ottawa River. This version of 'Jolly Raftsmen' is the first one I made. Later, I set it for 12 woodwinds as 'The Merry Raftsmen' [7905] and for woodwind quintet 'The Jolly Raftsmen' [9513].

1. My Lonely Heart (3’15)
2. The Jolly Raftsmen (2'45)

Antonin Dvorak (1841 – 1904) Slavonic Dance in G Minor, Op.46, No. 8 transcribed for chamber wind ensemble. For easy reading, the score and parts are written out so that no da capo or skip to al fine is necessary.

This is a revised and re-notated version of this work. Cues have been added and the keys of the first two movements have been lowered a whole step. An aural scrapbook of music heard during the 19th century: 1. Washington’s March at the Battle of Trenton by James Hewitt (1770 - 1827), 2. Farewell, Thou Dear Country by G. F. Stanbury (1800 - 1845) 3. Waltz by F. A. Vogel, 4. Reel and Hornpipe (Buckley's Favorite Reel and Saratoga Hornpipe). For wind nonet. E-flat and B-flat contra bass clarinet parts are provided to substitute for contrabassoon or double bass.

Margaret Barstow's short fanfare for woodwind quintet with humorous verses describing concert etiquette spoken by the musicians. A different way to start a program that avoids the usual P.A. announcement.

Fragments for wind octet was composed beginning in 1992 and worked on sporadically until 2010. It uses a compositional technique as if themes placed on a bulletin board are moved around for each instrument. The motives recall the traditional figures played when harmonies – ensembles of pairs of woodwinds and horns - were in vogue: leaping clarinet arpeggios, bouncy bassoon bass lines, sprightly rhythms and lyrical oboe melodies. The horns, however, play a corrupted version of ‘horn fifths’ throughout without sharing it.

The first Bagatelle from the Six Bagatelles for piano, Op.126. In the key of G with a short clarinet 'eingang'. Parts for A and B-flat clarinet parts are included. A good introductory work for any program or a fine encore when you wanted to calm down the crowd. Moderately difficult.

This short arrangement for the underserved trio repertoire for flute, B-flat clarinet and horn in F. Similar to but not exactly the same as the other trio versions.

Five pieces from Susato’s important collection of 16th century dances: 1. Mohrentanz. 2. Hoboeckentanz. 3. Branle: Fagott. 4. La Bataille. 5. Konigstanz. For 4 bassoons & optional contrabassoon. Moderate difficulty.

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The BASSOON WARM-UPS emphasize legato playing – the basis for good tone, good pitch, good coordination and surprisingly, good articulation. In addition to warming up your ear, they gradually expand your range, breathing endurance, dynamic levels and rhythmic awareness. Doing the warm ups every time you play will build confidence and reduce stress. After you become familiar with them, it will take less than 10 minutes to play them all.