New items from WeaitMusic.com

Written to prevent potential envy arising from the excluded hornist in the saxophone version. A sort demonstration piece for the standard woodwind quintet. For my colleagues at the Capital University Conservatory of Music.

We needed a piece to demonstrate all of the woodwinds. Something with a little solo for each player - so, I chose the venerable and much arranged "Carnival of Venice" as being relatively familiar to listeners and fun to play for the musicians. Dedicated to my woodwind colleagues at the Capital University Conservatory of Music.

These fanfares were composed at different times for different ensembles. The OBOHIO fanfares were written in 1990 to begin concerts by that double reed quartet. We would play them offstage before entering. #2 was written for performance at the International Double Reed Society's conference at the Louisiana State Unversity. Tavern Fanfare was written for a wind octet to play a concert at, you guessed it, a tavern! The Seven Eight Fanfare was composed in 1998 for no particular ensemble or event.

A Passacaglia on a 9 measure progression for the standard woodwind quintet: flute, oboe, clarinet in B-flat, bassoon and horn in F. Composed in 2008 and eagerly awaiting it's first performance!

In this transcription by Christopher Weait, the accompaniment for Karl Stamitz' (1745 - 1801) Double Concerto is for a clarinet choir of 4 B-flat clarinets, bass clarinet and E-flat contra-alto or B-flat contra-bass clarinet. Three movements (Allegro moderato, Andante moderato and Rondo) last about 20 minutes. Written in 1987 for performance by James Pyne and Christopher Weait with the accompaniment of Professor Pyne's outstanding clarinet choir.

Theme and Variations for solo flute, solo clarinet in b-flat, solo horn in F and bassoon has been arranged by Christopher Weait with band accompaniment from the second movement of Rossini's Wind Quartet No. 6. The arrangement was made for and performed by the woodwind faculty at the Capital University Conservatory of Music (Dr. Lisa Jelle, flute, Dr. Gail Lehto Zugger, clarinet, Professor Kim McCann and Professor Christopher Weait, bassoon) and the Capital University Symphonic Winds, Dr. Barry Kopetz, conductor.

Ukrainian Triptych was written in 2012 at the request of Dr. Bruce Gbur who is of Ukrainian descent. The music in three panels (movements) is based on folk songs found in the collection 'Let's Sing Out in Ukrainian, Volume One' compiled and edited by Yurko Foty, published in Saskatoon, Canada by Canuk Publications, 1977. The work will be premiered at the International Double Reed Society's 2012 conference at Miami University in Oxford, Ohio on July 9, 2012.

First Panel - 4'00
Second Panel - 4'45
Third Panel - 4'15
Total duration - 13 minutes

These Four Marches from Early America are found in the "Merrimac Collection of Instrumental and Martial Musick" by Henry Eaton Moore, printed and published by Jacob B. Moore in Concord, New Hampshire in 1833. The tempos reflect the slower, dignified marching style of the Revolutionary and Federalist periods. the United States March consists entirely of three-measure phrases

1. Colonel Orne's March (4'00)
2. United States March (1'00)
3. General Washington's March (1'45)
4. General Wayne's March (2'30)