Wind band

March on Eight Folk Tunes

Composed: Jan 21, 2024
Duration: 3:40

Premiere	Mar 3, 2024

Von Pathetique zur Freude

Kanon zu drei Simmen

Composed: Jun 8, 2020
Duration: 3

Premiere	Jul 12, 2020

Paraphrase on the Opera “Mr. Cinderella”

Composed: Nov 6, 2019
Duration: 8:30

Publisher: Tokyo Hustle Copy

Auf Flugeln des Gesanges (by F.Mendelssohn)

Composed: 2018
Duration: 3:00

Premiere	2018

Fantasia on Greensleeves

Composed: Nov 21, 2017
Instrument: Picc. 3Fl. 3Ob . EH. 3B♭Cl. Bass-Cl. 3Bsn. Double Bsn. 2A-Sax. T-Sax. Bar-Sax. 4Hrn. 3Cb
Duration: 6:00

Publisher: ItoMusic / Brain
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Note	Premiered on 12th December 2017, by Senzoku Gakuen College of Music Green-Tie Wind Ensemble under the baton of Douglas Bostock. Hardly any melody is so associated with England as "Greensleeves", a folk song about love, which has its origins in the late 16th Century. Interestingly, the tune was used as a slow march by British military bands in the 16th and 17th Centuries and as a quick march during World War I, reminding the soldiers of home. Yasuhide Ito has employed the melody as the basis for a new composition to complement this evening's special programme. (Douglas Bostock)
Premiere	Dec 12, 2017

Note

Premiered on 12th December 2017, by Senzoku Gakuen College of Music Green-Tie Wind Ensemble under the baton of Douglas Bostock.

Hardly any melody is so associated with England as "Greensleeves", a folk song about love, which has its origins in the late 16th Century. Interestingly, the tune was used as a slow march by British military bands in the 16th and 17th Centuries and as a quick march during World War I, reminding the soldiers of home. Yasuhide Ito has employed the melody as the basis for a new composition to complement this evening's special programme. (Douglas Bostock)

Premiere

Dec 12, 2017

Zwei Gesange (by J. Brahms)

1. Sonntag op.47-3 2. Der Gang zum Liebchen op.48-1

Composed: Jun, 2017
Duration: 3:30

Premiere	Jun 22, 2017

Ave Maria (By F. Schubert)

Composed: 2016

Premiere	2016

Toccata for Band

Composed: Dec 29, 2015
Instrument: Flute 1&2(2nd also Piccolo), Oboe(Option), Bassoon(Option), Bb Clarinet 1, Bb Clarinet 2, Bb Bass Clarinet, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, F Horn 1&2, Bb Trumpet 1&2, Trombone 1&2, Euphonium, Tuba, String Bass(Option), Percussion 1(Timpani，Suspended Cymbal，2 Tom-tom drums), Percussion 2(Glockenspiel，Xylophone，Snare Drum，Tom-tom drum)
Duration: 5:40

Publisher: Rocket Music
Please place an order to: toiawase@itomusic.com

Widmung　(by R. Schumann)

"Myrthen" Op.25-1

Composed: May, 2015
Instrument: 2Fl. 2B♭Cl. Bass-Cl. A-Sax. T-Sax. Bar-Sax. 2Hrn. 2Cornet. 2Trb. Euph. Tub. Timp. 2Perc

Premiere	Jun 24, 2015 Green-Tie Wind Ensemble

La Follia nel Bosco

Fantasia for Wind Ensemble

Composed: Dec, 2013
Duration: 6:20

Publisher: ItoMusic / Brain
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Note	La folia (Portuguese) or la follia (Italian), bearing the literal meaning of "madness" or "insanity", is also a very fast dance in triple time, which supposedly originated in the Iberian Peninsula. By the 17th century, it has taken on a calmer character, eventually taking form as a variation based on a specific basso ostinato (obstinate bass). Various composers have produced works based upon la folia. Composers such as A. Corelli (Sonata, Op. 5-12), F. Liszt (Rhapsodie espagnole), and S. Rachmaninov (Variations on a theme by Corelli). In March 2013, I wrote La Follia, Concertino for Band, upon receiving a commission from Tokyo Kosei Wind Orchestra. This concertino is of a high level of difficulty in terms of technique, as it is intended for a professional wind band. By using the same elements in the original piece, I wrote a more compact version, La Follia nel Bosco in December the same year, commissioned by the wind band of Kaishin Daisan Junior High School in Nerima ward, Tokyo. The members of the band, who based their idea from the impression they held for the piece, created the Italian title, meaning ‘little woods’. Mr. Lorenzo Della Fonte kindly assisted in translating the title into Italian. Although the piece was written for a junior high school band, it comprises of rich musical elements, which could prove useful to the players’ development. Naturally though, this piece might offer interesting challenges even to experienced players. It is in free variation form with no fixed harmonic progression, and most rehearsal marks are assigned to each variation. As it is a work for small bands, it is most ideal to have each part performed by only a single player, apart from the clarinet section, which should be performed by 2 persons for each part. The number of wind players should add up to 24 in total. Furthermore, though not indicated on the score, an oboe and/or a bassoon may also be included. On another note, it can also be performed without the 3rd clarinet, 3rd horn or 3rd trumpet, which would result in a minimum ensemble of only 18 wind players. Also, quite a number of percussion instruments are to be used. However though, if the passages in parentheses are omitted, it can be effectively performed with only six percussionists. And, with a little creativity, the number of percussionists may be further reduced. Much attention has been paid in the orchestration of this piece, so as to produce a wide range of tone colors. Finally, by studying the full score thoroughly, the interaction between the various instruments can be understood even better. ITO Yasuhide
Premiere	Aug 4, 2014

Note

La folia (Portuguese) or la follia (Italian), bearing the literal meaning of "madness" or "insanity", is also a very fast dance in triple time, which supposedly originated in the Iberian Peninsula. By the 17th century, it has taken on a calmer character, eventually taking form as a variation based on a specific basso ostinato (obstinate bass).

Various composers have produced works based upon la folia. Composers such as A. Corelli (Sonata, Op. 5-12), F. Liszt (Rhapsodie espagnole), and S. Rachmaninov (Variations on a theme by Corelli).

In March 2013, I wrote La Follia, Concertino for Band, upon receiving a commission from Tokyo Kosei Wind Orchestra. This concertino is of a high level of difficulty in terms of technique, as it is intended for a professional wind band. By using the same elements in the original piece, I wrote a more compact version, La Follia nel Bosco in December the same year, commissioned by the wind band of Kaishin Daisan Junior High School in Nerima ward, Tokyo. The members of the band, who based their idea from the impression they held for the piece, created the Italian title, meaning ‘little woods’. Mr. Lorenzo Della Fonte kindly assisted in translating the title into Italian.

Although the piece was written for a junior high school band, it comprises of rich musical elements, which could prove useful to the players’ development. Naturally though, this piece might offer interesting challenges even to experienced players.

It is in free variation form with no fixed harmonic progression, and most rehearsal marks are assigned to each variation.

As it is a work for small bands, it is most ideal to have each part performed by only a single player, apart from the clarinet section, which should be performed by 2 persons for each part. The number of wind players should add up to 24 in total. Furthermore, though not indicated on the score, an oboe and/or a bassoon may also be included.

On another note, it can also be performed without the 3rd clarinet, 3rd horn or 3rd trumpet, which would result in a minimum ensemble of only 18 wind players. Also, quite a number of percussion instruments are to be used. However though, if the passages in parentheses are omitted, it can be effectively performed with only six percussionists. And, with a little creativity, the number of percussionists may be further reduced.

Much attention has been paid in the orchestration of this piece, so as to produce a wide range of tone colors. Finally, by studying the full score thoroughly, the interaction between the various instruments can be understood even better.
ITO Yasuhide

Premiere

Aug 4, 2014

CD: Brain Contest Repertoire Vol.3 (Brain/BOCD-7356)

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Jalan-jalan di Singapora

Singapore Walkabaout March

Composed: Jul, 2012
Duration: 3:30

Publisher: ItoMusic / Brain
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Note	Singapore is a vibrant city. Though modern buildings line its streets, cultures of Chinese, Indians and Malays can still be found everywhere. This cheerful march has been composed to capture this crosslink of cultures in Singapore. The title Jalan Jalan di Singapura is in Malay and translates literally to “A Walk in Singapore”. Singapura-ku, a melody from Singapore, can be heard at the end of the march at rehearsal letter “G”. A motif from Movement 2 of Sinfonia Singaporiana (Singapore Symphony, composed in 2005) can also be heard from rehearsal letters D to F. 　With this short march, the composer aims to capture a variety of musical characteristics that are clearly unique and symbolic of Singapore. This work is commissioned by and dedicated to the Band Directors’ Association, Singapore. (BDAS) The premiere was performed on the 25th of July 2012 under the baton of the composer with the NYWO (Singapore Youth Wind Orchestra) during the Opening Ceremony gala concert of the 17th Conference of the Asia Pacific Band Directors' Association held in Singapore at the SIA Theatre of Lasalle College of Arts.
Premiere	Jul 25 , 2012

Note

Singapore is a vibrant city. Though modern buildings line its streets, cultures of Chinese, Indians and Malays can still be found everywhere.
This cheerful march has been composed to capture this crosslink of cultures in Singapore. The title Jalan Jalan di Singapura is in Malay and translates literally to “A Walk in Singapore”. Singapura-ku, a melody from Singapore, can be heard at the end of the march at rehearsal letter “G”. A motif from Movement 2 of Sinfonia Singaporiana (Singapore Symphony, composed in 2005) can also be heard from rehearsal letters D to F. 　With this short march, the composer aims to capture a variety of musical characteristics that are clearly unique and symbolic of Singapore.
This work is commissioned by and dedicated to the Band Directors’ Association, Singapore. (BDAS) The premiere was performed on the 25th of July 2012 under the baton of the composer with the NYWO (Singapore Youth Wind Orchestra) during the Opening Ceremony gala concert of the 17th Conference of the Asia Pacific Band Directors' Association held in Singapore at the SIA Theatre of Lasalle College of Arts.

Premiere

Jul 25 , 2012

HIBIKI　Joy of Music

Composed: Jun 10, 2008
Instrument: Fl. Cl. B-Cl. A-Sax. T-Sax. B-Sax. Hrn. Trp. Trb. Euph. Tub. Perc. (Option) Picc.　 Ob. Bsn. St.Bass
Duration: 6:00

Publisher: ItoMusic / Brain
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Premiere	Aug , 2008 Toyotama Daini Junior High School Band

CD: Brain Cotest Repertoire Vol.1 (Brain/BOCD-7356)

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Agnus Dei

Composed: 2005
Instrument: Fl.(Picc.). B♭Cl. A-Sax. Hrn. Cornet. Euph. Trp. Tub. Mallets. Vocal
Duration: 3:00

Premiere	2005

Get well, Maestro

Composed: Apr 10, 2002
Instrument: Picc. Fl. Ob. Bn. Cl. Sax. Hrn. Trp. Trb. Euph. Tub. Cb. Timp. Perc. Vocal
Duration: 3:00

Commissioned	Tokyo Kosei Wind Orchestra
Premiere	Apr 11, 2002

From "Pomp and circumstance" for brass ensemble (By E. Elgar) [3Cornet Hrn. Trb. Euph. Perc.]

Composed: Jan 20, 2001
Instrument: 3Cornet. Hrn. Trb. Euph. Perc

A la Suite Classique, for Wind Ensemble

1.Allemande en forme de Tango 2.Sarabande en forme de Chaconne 3.Gavotte en forme de Habanera 4.Gigue en forme de Zapateado　

Composed: Feb 13, 1996
Instrument: Fl. Picc(2nd.Fl). 3BbCl. 2ASax. TSax. 2Hrn. 2Trp. 2Trb. Euph. Tub. Timp. Perc. (Option. Ob. Bn. EbCl. AltoCl. BassCl. BarSax. 3&4Hrn. 3rdTrp. 3rdTrb. St.Bass.)
Duration: 9:00

Publisher: ItoMusic / Brain
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Note	A so-called “classical suite”, such as J.S Bach’s well-known French Suites, BWV 812-817 and Partitas, BWV 825-830 can be simply considered as a collection of dance pieces. Dances that were popular during a composer’s time, or old ones no-longer danced were integrated altogether as one piece. It can also be considered as a form of a variation using the same tonality or sharing a similar theme. As for this “A la Suite Classique (Classic Suite)”, I would say, is a modernized version of a similar concept which includes some newer dances, or a parody of an old form. It comes along as some sort of a brand-new piece that bears an antique taste to it. The allemande is a German duple meter dance with its roots spanning from the 16th till the beginning of the 17th century. By combining a little tango rhythm, the 1st movement is light and melodic, with a smooth going melody, and a stimulating experience with the irregular meter. The sarabande is a slow dance in triple meter, and originated from 17th $2013 18th century Europe. The 2nd movement is a sarabande combined with the chordal system of a chaconne. It begins ponderously but steadily develops into something with a little “pop” flavor. The gavotte is a French dance written in 2/2 or 4/4, with a moderate tempo, and is recognized for its half-measure upbeat feature. The 3rd movement is a gavotte, with a habanera rhythm to it. One can savor the tones unique to a wind ensemble with this light orchestration, and the intrigue of an unanticipated transposition in this movement. The gigue is a lively British dance originating from 16th century. The 4th movement is a dance in 6/8 meter combining the gigue with the Spanish zapateado, with the occasional travesty in a lively rhythm. “A la suite” in the title is defined as “in the form of a classic suite”, but “a la suite” can also be defined with a nuance - “in classic form one after another”. This piece was originally composed in January 1995, under the request of the Euphonium Company , for 4 euphoniums and an accordion, and arranged for a piano duet soon after (both are yet to be published). It initially comprises seven movements, but has been compressed into four for this arrangement for the wind ensemble. The Festival Wind Orchestra conducted by the composer himself, premiered this wind orchestra rendition at the California Institute of Technology Band Festival (21 April 1996). This composition is considerably light-hearted, unique to the characteristics of a small ensemble, as it was composed then for a small wind ensemble.
Premiere	Apr 21, 1996 California Polytechnic State University Band Festival, Cal Poly Wind Orchestra Conducted by Ito, Yasuhide
Information	Composed originally for 4Eupf. and an accordion. Available for Pf (4Hands), Fl&Pf virsion and Euph&Pf.

Sonata Classica, for Wind Emsembule

Composed: Aug, 1995
Instrument: Fl. Picc. 6BbCl. 2ASax. TSax. 2Hrn. 2Trp. 2Trb. Euph. Tub. Timp. Perc.
Duration: 6:00

Publisher: ItoMusic / Brain
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Commissioned	All Japan Band Association
Information	Set piece for the Band Competition in 1996. Available both condensed score and Pf(4Hands).

The Japanese Soccer Anthem (by Sakamoto, Ryuichi)

Composed: 1994
Instrument: 2Fl. Picc. Ob. Bsn. EbCl. 3BbCl. A.Cl. B.Cl. Asax. Tsax. Bsax. 4Hrn. 3Trp. Euph. Trb. Tub. Cb. Timp. Perc.
Duration: 5:00

Publisher: ItoMusic / Brain
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CD: Gloriosa -works of Ito, Yasuhide (brain/BOCD-7402)

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Fantasia Classica, for Wind Ensemble

Composed: Dec 27, 1992
Instrument: 2Fl(Picc). 6BbCl. 2ASax. TSax. 2Hrn. 2Trp. 2Trb. Euph. Tub. Timp. Perc. (option: Ob. Fg.BassCl. BarSax. St.Bass.)
Duration: 7:00

Publisher: ItoMusic / Brain
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Commissioned	Japan Band Clinic Committee
Premiere	May 17, 1993 University of Cincinnati Band conducted by Ito, yaushide
Information	Available for sax octet.

CD: 2013 New Pieces Concert (Brain/OSBR-29035)

Wind band

up to 30 players