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Third Wheel - FL/OB/3rd WHEEL

Composer: Vaneman, Kelly

Publisher: TrevCo

Edition: 70139


Third Wheel
for flute, oboe and 3rd wheel
by Kelly Vaneman- American oboist and educator

Surely everyone’s had the experience of being a “third wheel”—an interloper into an already-existing relationship? When a new person joins an existing group, it often feels awkward at first (and is sometimes full of surprises!), but after a while the various members of the group usually find themselves relating to each other in new ways, learning from each other and creating something new. That, in a nutshell, is the premise for Third Wheel. 
The flute and oboe lines are fairly self-explanatory, but performing the third wheel part does require a bit of extra thought: 
As you’ll see, the third wheel requires a fair amount of stomping. As you approach your performance, consider the sound of the stomp. What’s the floor like? What footwear might you employ? Do you suddenly have an excuse to purchase those really cool boots you’ve been wanting? How theatrical do you want to be with the storyline? The third wheel rests quite a bit before the first clap—what might they want to do with that time? (For that matter, how do the two wind players react to the third wheel’s entrance?) 
Who might you want to be your third wheel? Theoretically, the third wheel part can be anyone who can read music and has a really good sense of rhythm. Be careful, though—some of it gets a bit tricky…the third wheel solo just before the last section is written in the spirit of that moment in any great rock concert where the drummer gets to take a solo. Feel free to improvise your own solo! 
Finally, thank you so much for going out on a limb and trying a new piece of music. My fondest hope is that you, your ensemble, and your audience will have fun with this piece.



Kelly McElrath Vaneman is Professor of Oboe and Musicology at the Petrie School of Music of Converse College. Dr. Vaneman teaches oboe and chamber music and, oddly enough, those corners of the music repertoire which don’t include the oboe—music of the Middle Ages and Renaissance and World Music. She has presented and performed at a wide range of conferences, including those of the International Double Reed Society, the National Flute Association, the College Music Society, the International Alliance for Women in Music, and the Southeastern Composers League. With her chamber group Ensemble Radieuse she has performed on four continents, recorded the CD Inbox, and commissioned and arranged countless works.

A firm believer in “have oboe, will travel,” Dr. Vaneman has performed with rock bands at CBGBs, improvised solo underscoring for theatrical productions, and recorded tracks for a variety of popular musical genres. All these experiences have influenced her music compositions, which seek to fuse musical ideas from a variety of sources and engage audiences more fully with the artist’s stagecraft.

Dr. Vaneman holds DMA, MMA, and MM degrees from the Yale University School of Music. A native Texan, she received her B.Mus summa cum laude from Baylor University. She also studied at the Koninklijk Konservatorium Brussel under a grant from the Belgian American Educational Foundation. For more information, please visit