Golden Hearts Publications has signed a contract with Italian composer Massimo Sgargi and has begun selling (publishing) three of his wind band works!
More works are expected to be released in the future, but these are the first three. All are Grade 1, suitable for beginners. Later, I will include an explanation by Ken'ichi Masakado, who introduced me to Mr. Sgargi, so please take a look (This is a commentary primarily aimed at Japanese leaders.).
Duende
Duration：3'00"
https://global.goldenheartspublications.com/products/ghse-01
Duende is a Spanish term that indicates a mysterious charisma, a deep and irrational artistic inspiration, often linked to flamenco, which possesses the performer and emotionally touches the audience.
The song is characterized by a soft rhythmic phrasing of Latin inspiration.
Final Corner
Duration：3'00"
https://global.goldenheartspublications.com/products/ghse-02
The title of this piece is inspired by my passion for MotoGP and the exhortation becomes a metaphor for our commitment in life: never give up, you can always try, until the final corner (...and beyond ...)
Blackout
Duration：3'00"
https://global.goldenheartspublications.com/products/ghse-03
An energetic and rhythmic song in rock style.
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Commentary by composer Ken'ichi Masakado
In Japan, many people associate "Grade 1" with "practice pieces for beginners." While it's true that Mr. Sgargi's works are primarily aimed at those who have recently started playing an instrument, they are not merely practice pieces; they possess substantial content suitable for concert repertoire. These pieces are not only for beginners, but also for intermediate and advanced players.
--- In Japan, there is no unified "guideline" for wind band music; publishers assign grades based on their own standards. However, in Mr. Sgargi's native Italy, a clear "guideline" regarding grades exists. The "guideline" created in 2010 by the Tavolo Permanente delle Federazioni Bandistiche Italiane, while based on those created by American publishers and universities, was adapted to the Italian music education system and covers aspects such as tonality, time signature, instrument range, rhythm, tempo, dynamics, and articulation.
While Mr. Sgargi generally composes according to the "guidelines" mentioned above, he seems to value "interpreting with good judgment" and "form and overall structure," as stated therein.
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The following are some points to consider regarding the characteristics of the work, practice, and performance.
(1) The score is written to allow performance even with incomplete or unbalanced ensembles, and the wind instruments are distributed into four voices according to the "guidelines." Mr. Sgargi first assigns the upper three voices to four instruments: flute, Bb clarinet, alto saxophone, and trumpet, and then "colors" them with other instruments, including optional instruments. The movement of the instruments playing the bass line is unified. In other words, the wind instruments can be played by a minimum of five people (maybe even four). Percussion roles can be distributed according to the band's circumstances. It is also possible to use a drum set.
This is similar to a so-called "flexible ensemble," but while a "flexible ensemble" assigns instruments to voices, Mr. Sgargi assigns appropriate voices according to the characteristics of the instruments (range, function, etc.). While it's possible to fill in missing parts with other instruments, it's necessary to consider the composer's intended "timbre."
(2) Although the piece uses only one "key signature," it includes modulations. Beginners often get confused by "accidentals." It's important to understand what "keys" are included beforehand. Also, the piano part included as an option in the score will be a great help regarding harmony.
(3) While all instruments are written within a comfortable range, some notes may be slightly challenging for beginners. This should be taken into consideration (conversely, it can be said that this is a suitable "teaching material" for understanding and overcoming the "weaknesses" of an instrument).
(4) No notes smaller than eighth notes are used, nor are complex rhythms (not even syncopation!). Stepwise motion is frequently used in the melodic line, and leaps exceeding a fifth are rarely seen (except at phrase changes, etc.). Since long melodic lines and legato are not often required, it seems that the emphasis at this grade level is on developing a sense of rhythm (although a sense of phrasing is also important).
In Japan, I think that basic ensemble practice often focuses on using slow-tempo chorales to balance harmony and dynamics, but at the same time, it would be good to incorporate pieces like this to cultivate a sense of rhythm.
(5) Unlike many recent wind band works that are strongly story-driven and based on specific narratives or events, Sgargi's works allow you to create your own image and story as you work on them. It is important to be exposed to such works.
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"Grade 1" pieces are by no means "easy." You can delve deep, and the joy you gain from that is not measured by "grade."
I hope that many of you will pick up these pieces and use them in concerts and daily practice.
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That concludes today's new product announcement.
I look forward to receiving orders from many bands!
Shuhei Umemoto
Golden Hearts Publications
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