SKU: YM.GTP01090393

ISBN 9784636903935.

Unique arrangements based on Japanese traditional songs for 2 intermediate pianists.
Ji Yu Ri Ben Chuan Tong Ge Qu De Du Te Bian Pei .

SKU: YM.GTW01089105

ISBN 9784636891058.

One of the popular composers, Akira Senju compiled with the help of various composers. In addition, the violin part is advised by his younger sister, a popular violinist Mariko Senju.
Zhu Ming Zuo Qu Jia Qian Zhu Ming Zhi Zuo ,Ji Jie Liao Hao Hua Zuo Qu Jia Zhen Rong De Zuo Pin . Xiao Ti Qin Sheng Bu You Ta De Mei Mei Zhu Ming Xiao Ti Qin Yan Zou Jia Qian Zhu Zhen Li Zi Jian Du Wan Cheng .

1. Akatombo(Red Dragonfly); 2. Furusato(My Hometown); 3. Kojo no Tsuki(Moon over Ruined Castle); 4. Yashinomi(The Little Coconut); 5. Momiji(Autumun Colors); 6. Hamabe no Uta(A Song at the Seaside); 7. Yoimachigusa(Evening Primroses); 8. Kono Michi(This Old Road); 9. Soshunfu(Ode to Early Spring); 10. Tsuki no Sabaku(Desert Moonlight); 11. Hatsukoi(First Love); 12. Yuyake Kioyake(The Red Sunset Sky)
1. Hong Qing Ting ; 2. Gu Xiang ; 3. Huang Cheng Zhi Yue ; 4. Ye Zi De Guo Shi ; 5. Hong Xie ; 6. Hai Bin Zhi Ge ; 7. Xiao Dai Cao ; 8. Zhe Tiao Lu ; 9. Zao Chun Fu ; 10. Yue Zhi Sha Mo ; 11. Chu Lian ; 12. Wan Xia Jian Dan.

SKU: YM.GTP01097337

ISBN 9784636973372.

17 arrangements by 8 net pianists.
SNSShang Da Ren Qi Yan Zou Shi Pin De Le Pu Hua

1. Japanese traditional song Furusato(My home town) in three different atomosphere; 2. If Chopin plays Happy Birthday to You; 3. Twinkle Ode to Joy; 4. Orpheus in the Underworld in expiring expression; 5. Japanese children's song Soap Bubble Flew Away on the keyboard; 6. How to play Theme from Vice General Song in the bar; 7. How to play the background music from Summer Wars; 8. Chopsticks in cross genre arrangement; 9. Magic accompaniment; 10. To understand tension of the music through My Grandfather's Clock; 11. To explain Pachelbel's Canon thoroughly; 12. If Mozart is a student in Yamaha music school; 13. Brilliant Twinkle Twinkle Little Star; 14. To play a Japanese traditional song Antagata Dokosa(Where are you born?) on the keyboard; 15. To explain the rhythm patterns practically through Marunouchi Sadistic; 16. To study how to make variations with Four Season Songs basically; 17. Japanese children song Zo-san(Elephant song) in Jazz
1. <> 3Chong Fen Wei Gai Bian ; 2. Ru Guo Rang Xiao Bang Lai Dan <> Geng Jia Hui Huang Yi Dian ; 4. <> Gan Dong Ban Bian Qu ; 5. Jiang <> Gai Bian Wei Gang Qin Qu ; 6. Ru He Zai BarLi Bu Bei Cha Jue Di Yan Zou <> ; 7. <> Ju Zhong Qu ; 8. <> Ge Chong Qu Feng Bian Qu ; 9. Mo Fa De Ban Zou ; 10. Jiao Ni Ru He Shi Yong TensionDe <> ; 11. <> Che Di Jie Shuo ; 12. Ru Guo Mo Zha Te Shi Ya Ma Ha Yin Le Jiao Shi De Xue Sheng De Hua ; 13. Rang <> Shan Shan Fa Guang ; 14. Xiong Ben Fang Yan Ge Yao <> Gang Qin Bian Qu ; 15. <> Shi Yong Jie Zou Xing Xiang Jie ; 16. Yong <> Jiang Jie Ji Ben Bian Zou Fa ; 17. <> Jue Shi Ban Bian Qu.

SKU: PR.114412930

UPC: 680160571604. 8.5 x 11 inches. Text: Li Bai. Li Bai. Three poems by Li Bai (701 - 762).

It's a privilege to write a new work for my friend, the pipa master Ms. Wu Man to perform in the 05/06 concert season. Remembering the first time we worked together in 1991, Wu Man premiered my solo piece The Points on the age-old Chinese traditional instrument, with her adventurous virtuosity and sensibility in the piece with new musical concept and language, at the NewWorkOctober concert series at Columbia University in New York, presented by New Music Consort. I have been very happy to keep track with her new experiment and success in the new music field since then. Again, in 2001, I have composed a trio for her to play with Yo-Yo Ma and Young-Nam Kim, commissioned by the Chamber Music Society of Minnesota for the Hun Qiao project. Wu Man loved the piece so much that she commissioned me another new work to perform this time. In Chinese cultural tradition, in which I am deeply rooted, music is a part of an organic art form, along with poetry, calligraphy and painting. I am glad that Wu Man suggested to create our new work together with visual artist Catherine Owens. We are going to combine the art forms together in one. I got my inspiration from three ancient poems, which are drawn in Chinese calligraphy, with exaggerated dancing lines and shapes in layers of ink. The music would go with image projection in Chinese painting according to the poems. Written for Wu Man and commissioned by the Walton Arts Center, Fayetteville, AR, the duet Ancient Dances is written for pipa and a set of percussion instruments (including a pair of naobo, finger cymbals, and bongos; a Japanese high woodblock, a triangle, 3 Beijing Opera gongs in small, medium and large sizes, a suspended cymbal and a conga). It consists of three movements of music - Cheering, Longing, and Wondering, in which the music abstractly represents various expressions, in different textures and tempi, inspired by the text in the three Chinese poems by Li Bai from Tang Dynasty: 1) Riding on My Skiff; 2) Night Thoughts; 3) The Cataract of Mount Lu. The flying lines, as like mysterious and vivid ancient dances, bring the music, the calligraphy, and the painting all together in our work. --Chen Yi.
It's a privilege to write a new work for my friend, the pipa master Ms. Wu Man to perform in the 05/06 concert season. Remembering the first time we worked together in 1991, Wu Man premiered my solo piece The Points on the age-old Chinese traditional instrument, with her adventurous virtuosity and sensibility in the piece with new musical concept and language, at the NewWorkOctober concert series at Columbia University in New York, presented by New Music Consort. I have been very happy to keep track with her new experiment and success in the new music field since then. Again, in 2001, I have composed a trio for her to play with Yo-Yo Ma and Young-Nam Kim, commissioned by the Chamber Music Society of Minnesota for the Hun Qiao project. Wu Man loved the piece so much that she commissioned me another new work to perform this time.In Chinese cultural tradition, in which I am deeply rooted, music is a part of an organic art form, along with poetry, calligraphy and painting. I am glad that Wu Man suggested to create our new work together with visual artist Catherine Owens. We are going to combine the art forms together in one. I got my inspiration from three ancient poems, which are drawn in Chinese calligraphy, with exaggerated dancing lines and shapes in layers of ink. The music would go with image projection in Chinese painting according to the poems.Written for Wu Man and commissioned by the Walton Arts Center, Fayetteville, AR, the duet Ancient Dances is written for pipa and a set of percussion instruments (including a pair of naobo, finger cymbals, and bongos; a Japanese high woodblock, a triangle, 3 Beijing Opera gongs in small, medium and large sizes, a suspended cymbal and a conga). It consists of three movements of music - Cheering, Longing, and Wondering, in which the music abstractly represents various expressions, in different textures and tempi, inspired by the text in the three Chinese poems by Li Bai from Tang Dynasty: 1) Riding on My Skiff; 2) Night Thoughts; 3) The Cataract of Mount Lu. The flying lines, as like mysterious and vivid ancient dances, bring the music, the calligraphy, and the painting all together in our work.—Chen Yi.

SKU: PR.11441167S

UPC: 680160016976. 8.5 x 11 inches.

Commissioned by Boston Musica Viva with funds provided by Catherine and Paul Buttenwieser, premiered on March 15, 2002, in Boston, directed by Richard Pittman, Wu Yu is composed for flute, clarinet (doubling bass clarinet), bassoon, violin, cello and percussion (vibraphone, bongo, Japanese high woodblock, cymbal, 2 Chinese gongs, tom-tom and bass drum), in two movements. Wu Yu was a ritual dance in ancient China, which includes song and dance performed with ox tails in hands. It's a ceremony of praying to the deity for rain. In the first movement of my composition Wu Yu, I use the flute, clarinet and bassoon to play in heterophonic style, imitating the tunes played by a group of suona players in a village ceremony (the blowing instrument suona is a shawm, made with wood), while using other instruments to create sheng-like sustained chords (the Chinese traditional instrument sheng is a free-reed mouth-organ, made with a gourd). The music starts slowly, and gets faster and faster towards the coda. In the second movement, I imitate a whole group of Chinese traditional percussion instruments played in the folk ensemble music Shifan Gong-and-drum in Southeast China, which is often used in ceremonies and village gatherings. The music is brought to a climax at the end of the work. The whole piece lasts about 14 minutes. --Chen Yi.

SKU: AP.28665

UPC: 038081312095. English. Asian Folk Melody.

The most unique multicultural piece you will sing this year. A primarily English text tells the spectacular story of an ancient Japanese fishing tradition on the Uji River. And a traditional Asian folk melody floats above a gentle koto-like piano or SoundTrax accompaniment. Magical for treble voices, and highly effective when TB singers sound like fishermen.

SKU: YM.GTW657900

ISBN 9784636657906.

Er-Hu Method.
Er Hu Jiao Cheng .

34 traditional Japanese and Chinese tunes with detailed TIPS for Er-Hu play; written in Japanese.
34Shou Chuan Tong Ri Wen Ji Zhong Wen Ge Qu ,Fu Yan Zou Jie Shuo .

SKU: BT.DHP-1115037-140

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

Satoshi Yagisawa is well known for his dramatic symphonic band compositions. Even though he has written relatively few marches, they are also very popular: March Willing and Able is based on a chorale while March Bou Shu is based on a Japanese folk song. The Memory of Our Native Place is a rather unusual piece for Yagisawa, as it actually closely resembles a traditional march. The piece opens with a lively fanfare and is contrasted by the following theme. The trio features a chorale-like melody.

Satoshi Yagisawa is vooral bekend van zijn dramatische orkestwerken. Marsen schreef hij nog maar weinig. Die paar die hij schreef, zijn inmiddels allemaal wel erg geliefd en populair; March Willing and Able is gebaseerd op koraalmuziek en in March Bou Shu is een Japanse volksmelodie verwerkt. Deze nieuwe mars, The Memory of Our Native Place, begint met een stralende fanfare. Daarna klinkt een innig thema. In het triodeel komt een koraalachtige melodie naar voren. Kortom: hieraan houdt uw publiek zeker een mooie herinnering!

Satoshi Yagisawa ist bekannt für seine dramatischen Blasorchesterwerke - Märsche hat er bisher nur sehr wenige, dafür aber sehr beliebte geschrieben. Zwei davon sind March Willing and Able und March Bou Shu - der eine auf choraler Musik, der andere auf einem japanischen Volkslied basierend. The Memory of Our Native Place beginnt mit einer strahlenden Fanfare, bevor ein inniges Thema erklingt. Im Trio tritt eine choralartige Melodie hervor.

The Memory of our Native Place n’est pas une marche conventionnelle, mais contient néanmoins quelques éléments standard. Elle s’ouvre avec une fanfare brillante, suivie par un thème pétillant de fraîcheur marqué par une joyeuse alternance de réponses entre bois, cuivres et cuivres graves. La mélodie chantante du trio mène fi nale haut en couleurs faisant de The Memory of our Native Place une incontournable marche de concert.

Satoshi Yagisawa ha composto oltre cento brani per fi ati, ma solamente quattro marce, tra le quali ricordiamo le acclamate March Willing and Able e March Bou Shu, la prima basata su musica corale, la seconda su una canzone folk giapponese. Con The Memory of our Native Place, Yagisawa si allontana dal suo stile poco convenzionale, componendo una marcia che si avvicina agli schemi standard. L’inizio vede protagonista una fanfara brillante, seguita da un tema più intimo. Il trio espone una melodia simile a un corale.

SKU: HL.14014687

UPC: 884088810177. 10.5x14.0x0.276 inches.

Beyond Dark consists of one movement which is in three sections fast-slow-fast. Influences from the modern jazz harmony of Herbie Hancock and Chick Corea and also traditional Japanese instruments such as the koto and shakahachi. The piece lends itself to alternative fingerings which helps to give the piece an exotic flavour - some of which are included in the score included some of these optional fingerings in the score.