Solo bassoon in 5 movements, c.9'00
The pied butcherbird upon which the work is based sings in rushed gusts of notes; the effect is anticipatory, like beats two-three of a Viennese waltz or beats two and four of an up-tempo bluegrass number. The angularity of the essentially five-bar phrases is appealing. Two separate voices are implied by the octave or more spread between motivic segments and the qualitative difference between the lower and higher material. Octave displacement above and beyond the original birdsong figures in the work.
Bassoon and piano, c.2'10
The Hercules Close Stomp is written in a light and breezy style that could be played by people of any age. Included are of the scales and harmonies that will remind you of music by Gershwin and Weill. The piece should be played with a light swing in the quaver passages. Performers should feel free to add spontaneous ornamentation and variations
Horn and bassoon, c.5'00
The music is composed using the tuning system called 'Just Intonation'. Here the tunings are organised around twelve sets of harmonics playable on a standard double horn. Each valve slide is precisely tuned in a just tonantion ratio to the central pitch, F concert. The bassoon player has more limiited number of pitches to play though most will require non-standard fingerings to match the horn.
Audio sample performed by Sofia Ree (bassoon) and Michael Dixon (horn). Composed 2010