This Second Book Of Bassoon Solos is designed for the student in the second or third year of learning. The pieces cover a wide variety of styles and aim to explore the expressive qualities of the instrument. Many of the pieces feature brief explanatory notes.

The First Book of Bassoon Solos has been prepared for the true beginner. The 28 pieces are arranged in an approximate order of difficulty to provide a wide range of music for study and performance. They should be practiced and performed with careful attention to intonation rhythm dynamics tone quality character style and deportment. 

Introduction And Hornpipe are two delightful movements for Bassoon with Piano accompaniment by composer Francis Baines.

Two contrasting pieces - a soulful Arioso and playful Humoreske - for young players who have gained some confidence in performing on their instrument. Suitable for either Bassoon or Cello with Piano accompaniment.

Concerto No. 1 In B Flat K191 by Wolfgang Amadeus Mozart. Reduction for Bassoon and Piano.

As the title suggests this Sonatine by Alexandre Tchérepnin attempts to adapt the music to the surprise elements of sports. The Pianist in the first movement is portrayed as being 'defensive' while the Bassoon soloist is considered to be attacking the Piano much like Boxing. Movement two named Half-Time represents the rest that two players would be taking in the midst of a competition. Finally movement three - Race is in the form of a canon. The Bassoonist leads the race while the Pianist gradually closes the gap.

Work for Bassoon and Piano. The Enchantress Plays was commissioned by the Park Lane Group for the PLG Young Artists Series. It was first performed on 8th January 1991 at the Purcell Room London. Duration 8 minutes. Suitable for advanced players.

Timeless Cornish Melodies Cooked Up For Hungry Brass Players-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture - I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

Herbert Howells (1892-1983) was an English composer and teacher who is perhaps best known for his choral music in the Anglican tradition most famously his voluminous settings of the evening canticles.Minuet was composed in 1945 for solo Bassoon with Piano accompaniment. It was written for the birthday of Hugh Crosthwaite an English academic and amateur bassoonist who was studying at that time at Cambridge where Howells was working as an acting Organist for the duration of the war. It is subtitled Grace for a Fresh Egg; i.e. a thanksgiving for what was a rarity in wartime Britain.

Vernon Elliott. A Suite for Bassoon and Piano based on themes from the television series. Also includes solo parts for treble clef C and B flat instruments.