Wind Band - Grade 2.5

SKU: YM.GTW01096849

Concert Band. New Sounds in Brass (NSB). J-POP. Score & Parts. Yamaha Music Media #GTW01096849. Published by Yamaha Music Media (YM.GTW01096849).

ISBN 9784636968491.

New Sounds in Concert Band Series (NSB)
Duration: approx.4'00
Arranged by Hiroki Takahashi

Japanese pop standard writen in 1947, but now loved and sung by so many singers.
Xie Yu 1947Nian Ri Yu Liu Xing Ge Qu ,Xian Zai Reng Bei Hen Duo Ge Shou Suo Xi Huan Bing Fan Chang .

Chamber Ensemble

SKU: HL.14033503

Composed by Bent Sorensen. Music Sales America. Score. 42 pages. Music Sales #KP00750. Published by Music Sales (HL.14033503).

ISBN 9788759877609. Danish.

This Night Of No Moon for Ensemble was composed by Bent Sorensen in 1998-99. Programme Note: The title THIS NIGHT OF NO MOON is taken from the haiku poem by the female Japanese writer Ono No Komachi (834-880), about the emptiness without one's beloved - the night without a moon - the night without hope. In this piece songs and melodies are hidden - songs and melodies for this title and for other Haiku poems by the same poet. The piece is in four movements and is commissioned Michio Nakajima Mirrk Art Forum for BIT-20. (Bent Sorensen).

Grade 2

SKU: CL.011-3628-01

Composed by Wada. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR351). Extra full score. Composed 2007. Duration 1 minute, 50 seconds. C.L. Barnhouse #011-3628-01. Published by C.L. Barnhouse (CL.011-3628-01).

Young Japanese composer Naoya Wada's new composition, The Promise of Hope is an uplifting work that young students will enjoy rehearsing and performing. Full of wonderful teaching materials, the infectious melodies and vibrant rhythms combine to produce a sound that sounds much more difficult than it really is. Exceptional music for this grade level.

Soprano voice & Piano

SKU: ST.H412

Composed by Rhian Samuel. Vocal music. Range: A - C. Vocal score. Stainer & Bell Ltd. #H412. Published by Stainer & Bell Ltd. (ST.H412).

ISBN 9790220219467.

A virtuoso showpiece that makes highly effective use of Sprechgesang alongside standard vocal techniques, this 'narration for soprano and piano' is a setting of a short yet moving Japanese folk tale. An arrangement for Soprano, Vibraphone, Marimba and Double Bass.

Wind Band - Grade 3

SKU: YM.GTW01096848

Concert Band. New Sounds in Brass (NSB). TV & Cinema. Score & Parts. Yamaha Music Media #GTW01096848. Published by Yamaha Music Media (YM.GTW01096848).

ISBN 9784636968484.

New Sounds in Concert Band Series (NSB)
Duration: approx.5'00
Arranged by Hideaki Miura

Main Theme of Kill Bill by Tomoyasu Hotei, famous as a Japanese musician and guitalist.
Sha Si Bi Er Zhu Ti Qu ,You Zhu Ming Ri Ben Yin Le Ren /Ji Ta Shou Bu Dai Yin Tai Chuang Zuo .

SATB choir & Vibraphone

SKU: ST.AC158

Composed by Rhian Samuel. SATB and Solo Vibraphone. Choral. Octavo. Stainer & Bell Ltd. #AC158. Published by Stainer & Bell Ltd. (ST.AC158).

ISBN 9790220219450.

Four brief Japanese poems on the subject of seasonal change are the texts for this cycle of atmosphere miniatures. Graphic notation is featured, and the vibraphone plays from the choral score.

Soprano Voice and Chamber Ensemble

SKU: BT.MUSM570206247

Composed by Elisabeth Lutyens. Classical. Set of Parts. 212 pages. University of York Music Press #MUSM570206247. Published by University of York Music Press (BT.MUSM570206247).

English.

For Soprano and Ensemble. Published 1965. Flute(+Alto Flute), Clarinet(+Bass Clarinet), Piano, and Cello. Text: early Japanese tanka, various authors. Score.

Grade 1

SKU: CL.LDP-7020-01

Composed by Burns. Concert Band. Extra full score. Composed 2010. Daehn Publications #LDP-7020-01. Published by Daehn Publications (CL.LDP-7020-01).

Based on the 19th century Japanese folk song, Takai-Yama. Lots of melodic and rhythmic vitality for young band. Excellent for multicultural programming.

Orchestra (2 flutes (2nd flute doubling piccolo), 2 oboes, 2 clarinets in bb, 2 bassoons, 4 french horns in f, 2 trumpets in c, 2 trombones, 1 bass trombone, 1 tuba, percussion 1: small beijing opera gong, marimba, tam-tam, japanese high, wood block, percussion 2: s)

SKU: PR.416415110

For Violin And Orchestra. Composed by Chen Yi. Contemporary. Full score. With Standard Notation. Duration 10 minutes. Theodore Presser Company #416-41511. Published by Theodore Presser Company (PR.416415110).

UPC: 680160621286.

Commissioned by Kennesaw State University Symphony Orchestra in 2012, Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as the soloist and the KSUSO led by Prof. Michael Alexander at Bailey Center in KSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical story telling, Quyi, in a form of mixed reciting and singing style, with interludes played by percussion and plucking instruments in accompaniment. The folk musical story telling is sung in dialects from different geographic regions. I mixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.
Commissioned by Kennesaw State University Symphony Orchestra in 2012,Chinese Rap for violin and orchestra is premiered by Prof. Helen Kim as thesoloist and the KSUSO led by Prof. Michael Alexander at Bailey Center inKSU, GA on Feb. 17, 2014. The work is inspired by Chinese folk musical storytelling, Quyi, in a form of mixed reciting and singing style, with interludesplayed by percussion and plucking instruments in accompaniment. The folkmusical story telling is sung in dialects from different geographic regions. Imixed all these elements in a complex three-part form, with an introduction, a cadenza in the middle, and a coda as the frame in the structure. The melodies are delicate and leisurely, and the rhythmic parts are energetic, vivid and lively. There are big contrasts between sections, which are juxtaposed and connected smoothly and congenially.

Fanfare Band - Grade 6

SKU: BT.DHP-1115084-120

Composed by Jan Van der Roost. Concert and Contest Collection CBHA. Score Only. Composed 2012. 99 pages. De Haske Publications #DHP 1115084-120. Published by De Haske Publications (BT.DHP-1115084-120).

9x12 inches. English-German-French-Dutch.

It may be surprising to see a fanfare piece commissioned by a Japanese ensemble, since fanfare orchestras are typically found in Belgium, Holland and Luxembourg, and also France and Switzerland. Senzoku Gakuen is one of the largest and mostprestigious music universities in Japan, and home to a wide variety of ensembles and orchestras. Since 2006 they have had a fanfare orchestra, which was started by Sotaru Fukaishi, a euphonium teacher who felt further performance opportunity wasneeded for saxhorn instruments. Fukaishi had loved the sound of fanfare orchestras ever since visiting the World Music Contest in Kerkrade (Holland) several years earlier. Jan Van der Roost was involved with this new initiative from the beginning,and they were also joined by Manu Mellaerts for certain projects. The Dean of the music department, Professor Kazuo Tomioka, fully supports the ensemble and commissioned Ostinati. The première took place on June 11th at Maeda Hall inMizonokuchi (Kawasaki) where Senzoku Gakuen is based. The piece opens with an impressive timpani solo, followed by brass and saxophone. The rhythmical pulse remains constant and the music is fiery and assertive in character. A pentatonic melodygradually emerges and the music loses its vehemency and softens. The initial percussion ostinati subsequently recurs and the first section of the piece concludes in a similar mood to the opening. The second movement is sweet and melodic, opening witha long passage for the saxophone family in a minor key. The same theme then appears in the major and is developed upon; the music builds to a majestic orchestral forte, reminiscent of a pipe organ in its sonority. The theme returns in the originalminor key with a change in instrumentation leading the movement to a quiet and peaceful end on a soft E minor chord. The finale starts with percussion: a four-bar pattern is repeated several times over which the movement’s melodic themes areintroduced. These melodic elements are varied and used in different versions and the ostinato idea, which characterizes the entire piece, is highlighted. The theme travels through the orchestra, appearing on various instruments and in variousregisters. It captures the listener’s attention and displays the full range of sound and colour within the fanfare orchestra.

Het is misschien verrassend dat dit fanfarewerk is geschreven in opdracht van een Japans ensemble, aangezien fanfareorkesten vooral te vinden zijn in België, Nederland en Luxemburg, en ook wel in Frankrijk en Zwitserland. SenzokuGakuen is een van de grootste en meest prestigieuze muziekopleidingen van Japan, en de thuisbasis van een grote verscheidenheid van ensembles en orkesten. In 2006 is er een fanfareorkest opgericht, en wel door Sotaru Fukaishi, eeneuphoniumdocent die vond dat er meer mogelijkheden moesten komen voor optredens met saxhoorninstrumenten. Fukaishi had enkele jaren daarvoor genoten van de fanfareklank toen hij het Wereld Muziek Concours in Kerkrade bezocht. DeBelgische componist Jan Van der Roost was van het begin af aan betrokken bij dit nieuwe initiatief, en ook Manu Mellaerts werd voor een aantal projecten aangetrokken. Het hoofd van de muziekfaculteit, professor Kazuo Tomioka, staatgeheel achter het ensemble en gaf de opdracht tot het schrijven van Ostinati. De première vond plaats op 11 juni in de Maeda Hall in Mizonokuchi (Kawasaki), waar Senzoku Gakuen is gevestigd. Het werk begint met een indrukwekkendepaukensolo, gevolgd door koper en saxofoon. De ritmische puls blijft constant, en de aard van de muziek is vurig en krachtig. Geleidelijk komt er een pentatonische melodie naar voren en wordt de muziek minder heftig, ze wordtzachter van karakter. De aanvankelijke ostinati in het slagwerk verschijnen dan opnieuw, waarna het eerste deel van het werk eindigt in dezelfde sfeer als waarmee het begon. Het tweede deel is lieflijk en melodisch. Het opentmet een lange passage voor de saxofoons in een mineurtoonsoort. Dan klinkt hetzelfde thema in majeur en daar wordt op voortgeborduurd: de muziek ontwikkelt zich tot een majestueus orkestraal forte, dat qua sonoriteit doet denken

Es mag überraschen, dass dieses Fanfareorchesterwerk ausgerechnet von einem japanischen Ensemble in Auftrag gegeben wurde, da Fanfareorchester doch eher in Belgien, den Niederlanden oder Luxemburg oder auch in Frankreich oder Schweiz zu finden sind. Senzoku Gakuen ist eine der größten und renommiertesten Musikschulen Japans und Heimstätte einer Vielfalt an Ensembles und Orchestern. Im Jahr 2006 wurde ein Fanfareorchester gegründet. Den Anstoß gab Sotaru Fukaishi, ein Euphoniumlehrer, der den Instrumenten der Saxhorn-Familie mehr Spielmöglichkeiten bieten wollte. Fukaishi hatte sich einige Jahre zuvor bei der Weltmeisterschaft in Kerkrade (Holland) in den Klang vonFanfareorchestern verliebt. Jan Van der Roost war von Beginn an in die Entwicklung dieser Idee involviert und, einige Projekte betreffend, ebenso Manu Mellaerts. Der Dekan des Musik-Colleges, Professor Kazuo Tomioka, steht voll und ganz hinter dem Ensemble und gab Ostinati in Auftrag. Die Premiere fand am 11. Juni 2011 in der Maeda Hall in Mizonokuchi statt, dem Heimatort der Schule Senzoku Gakuen. Das Stück beginnt mit einem eindrucksvollen Paukensolo, bevor Blechbläser und Saxophon einsetzen. Der rhythmische Puls bleibt konstant unter einer feurigen, nachdrücklichen Musik. Eine pentatonische Melodie bildet sich nach und nach heraus, während die Musik an Heftigkeit verliert und sanfter wird. Die anfänglichen Ostinati im Schlagwerk kehren zurück und so endet der erste Satz des Werkes in einer der Eröffnung ähnlichen Stimmung. Der zweite Satz ist lieblich und melodiös. Er beginnt mit einem langen Abschnitt für die Saxophone in Moll. Dann erscheint das gleiche Thema in Dur und durchläuft eine Entwicklung; die Musik baut sich zu einem majestätischen orchestralen Forte auf, das in seiner Klangfülle an eine Orgel erinnert. Dann kehrt das Thema in seiner ursprünglichen Moll-Tonart und in veränderter Instrumentierung zurück, um den Satz ruhig und friedvoll in einem e-Moll-Akkord enden zu lassen.

Il pourrait paraître surprenant qu’un ensemble japonais puisse commander une pièce pour orchestre de fanfare, puisque l’on rencontre surtout ce type de formation en Belgique, aux Pays-Bas et au Luxembourg, ainsi qu’en France et en Suisse. Senzoku Gakuen, l’une des plus grandes et plus prestigieuses académies de musique du Japon, compte une grande variété d’ensembles et d’orchestres. En 2006 s’y est ajouté un orchestre de fanfare fondé par Sotaru Fukaishi, un professeur d’euphonium qui pensait qu’il était nécessaire d’offrir de plus larges possibilités aux cuivres de la région. Depuis qu’il avait assisté au World Music Contest de Kerkrade (Pays-Bas), plusieurs années auparavant,Fukaishi se prit de passion pour le son chaud et généreux de l’orchestre de fanfare, une formation atypique au Japon. Jan Van der Roost a favorablement adhéré cette nouvelle initiative, tandis que Manu Mellaerts collabora avec les deux hommes afin de concrétiser certains projets. Le professeur Kazuo Tomioka, doyen du collège de musique, soutint vigoureusement l’orchestre et commanda Ostinati. La création de l’oeuvre fut donnée le 11 juin 2011 au Maeda Hall de Mizonokuchi (Kawasaki), où se trouve Senzoku Gakuen. La pièce débute avec un impressionnant solo de timbales précédant l’entrée des cuivres et des saxophones. La pulsion rythmique est constante, la musique est énergique et de caractère affirmé. Une mélodie pentatonique émerge graduellement, alors que la trame musicale diminue d’intensité et s’adoucit. L’ostinato la percussion revient fréquemment et la première partie de l’oeuvre se termine dans un climat semblable celui du début. Le deuxième mouvement, doux et romancé, débute avec un long passage en mode mineur joué par les saxophones. Le même thème apparaît alors en mode majeur et se développe peu peu ; la musique s’intensifie pour arriver un majestueux et orchestral forte dont les sonorités rappellent celles d’un orgue d’église. Puis le thème revient sa tonalité mineure d’origine avec un changement d’instrumentation qui mène.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1063948-140

Composed by Takamasa Sakai. Applause Series. Score Only. Composed 2006. 28 pages. De Haske Publications #DHP 1063948-140. Published by De Haske Publications (BT.DHP-1063948-140).

9x12 inches. English-German-French-Dutch.

This piece was inspired by a variety of music such as Broadway musicals, French cancan, and circus marches. A special rhythm pattern called “Ipponjime” (or “Sanbonjime”) is played by the percussion (3 + 3 + 3 + 1) in the first four measures.This is how people freely clap their hands when ceremonies or parties end in Japan. This custom of clapping hands reflects Japanese people’s spirit to readily move on to the next step. As the infectious work comes to its exciting conclusion every player shouts “yeah!”ensuring you will definitely hear rapturous applause!

Aan dit werk liggen diverse muzikale inspiratiebronnen ten grondslag, zoals Broadwaymusicals, de Franse cancan en circusmarsen. Een Japans ritmepatroon komt in de eerste vier maten naar voren in het slagwerk. Het centrale deel bevatsolo’s voor xylofoon en piccolo, die in de smaak zullen vallen bij uw publiek, zeker wanneer de solisten al improviserend een aantal technische staaltjes laten horen. Indien gewenst kan de instrumentatie worden gewijzigd. Na hetsologedeelte komt het eerste thema terug en volgt er een opbouw naar een opwindend slot, waar iedere speler “yeah!” roept. Met wat aanvullende showelementen zal het applaus nog uitbundiger zijn.

Zu diesem Werk ließ sich der Japaner Takamasa Sakai von einer breiten Palette an unterhaltsamen Musikstilen inspirieren, wie z.B. Broadway-Musicals, französischem Cancan und Zirkusmärschen. Aufregende Soli für Xylophon und Piccolo, Gelegenheiten zur Improvisation, ein traditionelles japanisches Klatsch-Rhythmusmuster sowie ein spannendes Finale sind die Zutaten zu einem Stück, das dem Publikum mit Sicherheit den im Titel versprochenen Applaus entlocken wird!

Applause! (“Applaudissements”) s’inspire de divers styles musicaux tels que les comédies musicales de Broadway, le célèbre French cancan et plusieurs airs de marches de cirque. Le développement est surprenant, rafraîchissant et plaisant la fois pour les musiciens et le public.

Applause! s’ispira a diversi stili musicali quali le commedie musicali di Broadway, il celebre cancan e marce circensi. Lo sviluppo è sorprendente, fresco e piacevole per i musicisti ed il pubblico.