This third movement came over very easily for bassoon and piano. I did not need to change the key as I did in the first two movements as taking it down 2 octaves and putting it in bass clef suited the bassoon range and tessitura well. The only thing I needed to be concerned with was loosing the percussion part which was all bass drum in this movement.
This movement is a humorous valse (waltz) and the bass drum added to the humor by being on beats other than the strong beat of the measure. I was able to just eliminate the bass drum because the syncopations in the bassoon and piano still left the piece with the feeling of an awkward waltz. There were a few measures where the bass drum played alone. Measures 51 and 54 are 4/4 measures where the bass drum played on all four beats. I found the the silence for all four beats worked very well and I did not neat to add anything. The other spot was measures 108-109 where the bass drum had a triplet figure that diminuendoed. I created a similar figure for the bassoon and that solved the problem.
I chose bassoon and piano for this movement because of the humorous flavor. I also slowed the tempo down a notch to make the waltz a little more lumbering.
To see and hear what I have discussed, go to http://www.cooppress.net/divertissement_mixed_woodwinds_blog.html. You will be viewing a transposed score.
As always, your comments are appreciated.