Par DELERUYELLE THIERRY. Little Tokyo Suite est une ?uvre en trois mouvements pour ensemble à vents, dont l?orchestration flexible à 10 parties convient à tout orchestre d?harmonie ou fanfare. Elle décrit les « Japantowns » développées par les émigrants japonais à travers le monde. Ces quartiers portent souvent le nom de « Little Tokyo », en référence à la capitale du Japon. Les trois mouvements dépeignent chacun sur une région abritant une telle communauté japonaise. Cette suite est dédiée à l?orchestre d?harmonie du conservatoire du 12e arrondissement de Paris, dont le directeur est amoureux de la culture japonaise, ainsi qu?à l?orchestre d?harmonie de Mochizuki Junior High School, Saku City (Nagano, Japon). Ils ont interprété cette ?uvre en création, à 10 000 km l?un de l?autre, en 2022. / Date parution : 2022-07-30/ Répertoire / Concert Band/Harmonie/Fanfare

Allain Gaussin, a pupil of Olivier Messiaen at the CNSM in Paris, and a veritable alchemist of sound, created a sensual and sparkling work that aims to induce in listeners the sort of 'internal awakening? that the Japanese refer to as Satori - the title given to a piece for solo clarinet he wrote in 1998. Composed a decade later, Tokyo-City for solo Piano draws on the same inspiration, fuelled by several stays in Japan. Gaussin sets out to reproduce the various sensations he experienced during his walks around the Japanese megalopolis: a fear of being swallowed up by its vastness gives way to a bedazzlement in the face of a buzzing universe awash with harmonies and colours. The work follows a dual symmetrical structure (in terms of register and tempo): after an enigmatic start entrusted to the low notes of the piano, a musical figure gradually emerges from 'floating polyphonies?, producing a veritable toccata which is slowly deformed, like an ana­morphosis. Then, only a glimmering of crystal-clear harmonies remains, and the work ends sparsely on the highest notes of the piano. / Piano

Salsa has become quite a dance craze. Its popularity has grown from the Cuban and Puerto Rican community to include most of the Americas, Europe, and even Japan. New Salsa bands are forming everywhere from New York to Los Angeles, from Tokyo to Paris. But despite its increasing popularity, many musicians find that Salsa and the other genres of Afro Cuban Music are still very difficult to feel and play in an authentic relaxed way. This type of music with its unique concept of the Clave presents quite a challenge for the aspiring young performer. In the past, the only way to learn how to play Salsa was to live in an area where Salsa was already very popular so that one might connect with as many authentic musicians as possible; learning one pattern here, another there, via a very slow learning process that could take years if not decades to accomplish. Even though the process of immersing oneself fully and experientially in the music style of our choosing is absolutely necessary for our musical growth, the need for concise, well written, and organized materials, written by someone who knows and lives this type of music is also essential. We at ADG, believe that Mr. Campos' books are doing exactly that. We believe that he has done a great service by writing his first two books titled 'Salsa: Afro-Cuban Montunos for Piano' and 'Salsa: Further Adventures in Afro-Cuban Music', and now with his latest book 'Salsa: Afro-Cuban Montunos for Guitar'. Mr. Campos is helping to expand the area of Salsa studies to include all guitar players and students. Salsa & Afro Cuban Montunos for Guitar by Carlos Campos. Finally the first instructional book showing guitarists how to play Salsa styles. Following on from his highly successful Salsa piano/keyboard instructional books Carlos Campos has created a book for guitarists with over 400 examples (60 examples recorded) with each example for 2-3 and 3-2 clave. There is both written music and tablature These Salsa patterns can be used for Jazz, Latin Jazz and Flamenco musical styles. Salsa has become quite a dance craze. Its popularity has grown from the Cuban and Puerto Rican community to include most of the Americas, Europe, and even Japan. New Salsa bands are forming everywhere from New York to Los Angeles, from Tokyo to Paris. But despite its increasing popularity, many musicians find that Salsa and the other genres of Afro Cuban Music are still very difficult to feel and play in an authentic relaxed way. This type of music with its unique concept of the Clave presents quite a challenge for the aspiring young performer. In the past, the only way to learn how to play Salsa was to live in an area where Salsa was already very popular so that one mightconnect with as many authentic musicians as possible; learning one pattern here, another there, via a very slow learning process that could take years if not decades to accomplish. Even though the process of immersing oneself fully and experientially in the music style of our choosing is absolutely necessary for our musical growth, the need for concise, well written, and organized materials, written by someone who knows and lives this type of music is also essential. Mr. Campos' books are doing exactly that. ADG believe that he has done a great service by writing his first two books titled 'Salsa: Afro-Cuban Montunos for Piano' and 'Salsa: Further Adventures in Afro-Cuban Music', and now with his latest book 'Salsa: Afro-Cuban Montunos for Guitar'. Mr. Campos is helping to expand the area of Salsa studies to include all guitar players and students. Salsa & Afro Cuban Montunos for Guitar by Carlos Campos. Finally the first instructional book showing guitarists how to play Salsa styles. Following on from his highly successful Salsa piano/keyboard instructional books Carlos Campos has created a book for guitarists with over 400 examples (60 audio examples recorded) with each example for 2-3 and 3-2 clave. There is both written music and tablature These Salsa patterns can be used for Jazz, Latin Jazz and Flamenco musical styles./ Recueil / Guitare

 Henriette PUIG-ROGET (1910-1992) fut élève de Marcel Dupré et de Charles Tournemire, Musicienne touche à tout, elle fut pianiste, chef de chant à l'opéra de Paris, collabora à de nombreuses émissions radiophoniques, succéda à Nadia Boulanger comme professeur de la classe d'accompagnement au piano au Conservatoire National Supérieur de Musique de Paris et finit sa carrière comme professeur invitée de la prestigieuse université de Geidai à Tokyo, En tant qu'organiste, elle fut suppléante de Charles Tournemire à Sainte Clotilde en 1931, puis organiste à la Grande synagogue de la rue de la Victoire, de 1934 à 1952, et organiste de l'Eglise Réformée de l'Oratoire du Louvre de 1934 à 1979, Henriette PUIG-ROGET eu une activité de compositrice importante, principalement jusque dans les années 1950, Les 3 Prières présentées ici sont réunies pour la première fois, seules les deux premières ayant déjà été éditées, Vastes paraphrases de thèmes grégoriens, elles semblent former un hommage au maître Tournemire, tout en déployant des harmonies bien personnelles, - Prière pour un jour de douleur (06'45'')- Prière pour un jour de joie (07'18'')- Prière d'action de grâce (06'10'') Collection Musique et Patrimoine / Orgue

Par YOKOKAWA. Seiji Yokokawa was born in Tokyo, however his musical studies took him to the conservatoires of Rouen and Paris. His career brough him success as a solo performer and teacher. Yokokawa 's expertise has produced the well-informed Scale and Fingerings in all their forms for Clarinet. Containing a helpful fingering chart of all notes on the Clarinet, Scales and Fingerings in all their forms also suggests alternative articulations and rhythms for the 31 pages of scales included. For all aspiring clarinetists, Yokokawa 's Scales and Fingerings in all their forms is an essential study book todevelop technique to a high standard./ Etude / Clarinette