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Title	To A New Journey
Article no.	3116981
Category	Concert/wind/brass band
Subcategory	Concert music
Instrumentation	Ha (concert/wind band)
Format	PrtStm (full score and parts)
Country of publication	USA (us)
Publisher *	C.L. Barnhouse Company
Publisher's article no. *	BA 012-4743-00
Series title	Concert Band Series
Year of publication	2019
Price	click here
Composer	Wada, Naoya
Difficulty level	3
Duration	6:17
Additional info/contents	“To A New Journey” from the pen of noted Japanese composer Naoya Wada is a bright showcase for concert band. This upbeat concert work is characterized by the composer’s creative use of soaring melodies and exciting rhythms, with interesting and engaging parts for all musicians. A great choice as a concert opener, closer, or contest piece. (Barnhouse Music) Prt PicFlt Flt 1,2 Ob Fag Clr 1,2,3 BClr ASax 1,2 TSax BSax Trp 1,2,3 Hrn in F 1,2 Trb 1,2 Euph/Brt (BC+TC) Tub KB Glsp Wispi Tmp Perc 1,2,3: -SD -BD -MCym -SuCym -Tmb -Wispi -Trng
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Programme notes *: To A New Journey – A Departure in Various Soundscapes Naoya Wada’s *To A New Journey* is a programmatic work for intermediate-level concert band. It was composed to mark the 120th anniversary of Keika Gakuen High School and Middle School, as well as the 60th anniversary of its symphonic concert band. The premiere took place on March 28, 2018. The title refers to a new phase in the lives of the older students, who embark on new paths following their time spent making music together. This concept is expressed in the score not through a single, continuous theme, but rather through shifting soundscapes and distinct contrasts in tempo. • Structure and Progression The piece begins with the performance instruction “With Spirit” at a tempo of 144–148 beats per minute (quarter notes). Short, active figures emerge, while the brass and percussion sections provide an energetic impulse to the sound. The woodwinds contribute concise motifs to the upper voices. From the very first bars, the music alternates between active, moving lines and sustained tones—creating a dynamic interplay between forward momentum and expansive, resonant textures. As the piece unfolds, these motifs are distributed across various registers and instrumental groups. Measures 12, 17, and 21 mark transitions where the instrumentation and the musical roles of the individual parts shift. Later, beginning at measure 37, longer melodic arcs and recurring figures become more prominent. This alternation between active passages and sustained sounds provides variety without compromising the overall coherence of the work. At measure 75, a *ritardando* leads into a slower section, which begins at measure 82. The tempo marking "Expressively" (quarter note = 78) signals a distinct shift in mood. A solo oboe takes on a prominent role here, while other voices either recede or support the melody with softer, sustained tones. From measure 100, the instruction "A Little Faster" (quarter note = 82) follows. Later, at measure 162, the marking "Driving to the End" heralds a renewed increase in momentum. • Instrumentation and Timbres The ensemble includes a full woodwind section—flutes, oboe, clarinets, bass clarinet, bassoon, and saxophones—along with trumpets, horns, trombones, euphonium, tuba, and double bass. Glockenspiel, tubular bells, timpani, and three percussion sections further expand the palette of timbres. The score does not reserve this large ensemble solely for *tutti* passages; instead, it features a dynamic interplay between highlighted instrumental groups, melodic lines, and foundational accompaniment. In the opening section, the high woodwinds provide agile, active figures, while the lower woodwinds, brass, and double bass reinforce the foundation. The percussion section—comprising snare drum, bass drum, cymbals, tambourine, wind chimes, and triangle—contributes various impulses and sonic accents. The glockenspiel and tubular bells add clearly defined, penetrating tones to the orchestral texture. In the slow middle section, the orchestration thins out: the solo oboe, supported by a restrained accompaniment, allows for a sharper focus on the melodic line. • Themes, Harmony, and Rhythm Thematic development relies significantly on the alternation between short, rhythmically striking motifs and longer, legato melodies. Recurring musical figures connect the various sections, while shifts in register, volume, and instrumentation alter their overall effect. In the middle section, in particular, the solo oboe introduces a more lyrical, vocal-like quality. A subsequent change in tempo paves the way for a transition into a new, increasingly animated passage. Harmonically, the score alternates between sustained sonorities and clearly articulated chord progressions. At the opening, long, sustained tones in certain registers create a sense of expansive sound, while rhythmically active parts—positioned above or below—introduce tension. Later, more concentrated chords and recurring bass motifs come to the fore. In this way, the harmony serves primarily to structure the work and build intensity: it underpins the contrast between the powerful opening, the calmer middle section, and the forward-driving conclusion. It is not possible to reliably identify specific keys or chord progressions from the provided score excerpt. Rhythmically, the fast-paced opening is defined by sharp accents, short note values, and repetitive accompaniment patterns. The percussion section reinforces the pulse while also contributing its own distinct accents. It is crucial for the ensemble to maintain precise rhythmic alignment, even within the dense orchestration. In the slower section, the focus shifts toward long, sustained phrases, precise entries, and nuanced dynamic gradations. Furthermore, the *ritardando* leading up to measure 82 requires the ensemble to coordinate their tempo adjustments collectively. • Requirements for an intermediate-level concert band The challenge lies less in a consistently high level of technical density than in the shifting nature of the musical tasks. Rapid figures must be played with clear articulation and rhythmic cohesion, even at a brisk initial tempo. In the *tutti* passages, a well-balanced sound is essential to ensure that melodic lines are not overshadowed by the powerful brass and percussion. Sustained notes require both controlled breath support and stable intonation. The middle section shifts the focus: the solo oboe should stand out tonally, while the accompanying parts must maintain their composure and secure intonation. Changes in tempo and *crescendos* require careful, collective preparation. If the ensemble successfully navigates the transition between precision, tonal restraint, and energetic interplay, the work’s programmatic concept becomes musically tangible: a familiar ensemble evolves, setting its sights on the next phase of the journey. • *To A New Journey* combines lively passages, shifting timbres, and a calmer, solo-driven middle section into a clearly structured musical progression. The score demands precise ensemble playing, a balanced sound, and careful handling of tempo changes from an intermediate-level concert band. In this way, the theme of setting out—suggested by the title—is brought to life through the interplay between familiar motifs and fresh, evocative soundscapes. Text: © musicainfo.net (KI) Quellen/Sources: Barnhouse Music: To A New Journey Wind Repertory Project: To a New Journey

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	To A New Journey (concert/wind band), full score and parts
	To A New Journey (concert/wind band), full score
	To A New Journey (concert/wind band), full score, large
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