For Concert Band

This work is published by "Golden Haerts Pubulications".

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Commissioned as ceremony music for the 63rd National Sports Festival and the 8th National Sports Festival for the Disabled held in Oita Prefecture in 2008, It was performed mainly by the ceremony band conducted by the composer as the main march when entering and leaving the team at the opening and closing ceremonies of both tournaments. Composed from early 2007 to spring.

"Nike" is the "goddess of victory" in Greek mythology. Everybody has seen the statue "Nike of Samothrace" at the Louvre Museum in France, and it is well known that the name of a famous American sporting goods maker comes from Nike.

"Which goddess of victory smiles?"
This phrase is often heard in sports broadcasts. This phrase and the Nike of Samothrace (as you know, without a head) are the basis of the work and the idea of the title.

Participants in both tournaments are those who have passed qualifying rounds in Japan. In other words, Nike smiled at least once ... The work includes a tribute to the qualifying win and participation in both tournaments, and a prayer for the players to be able to exercise their full potential in the upcoming tournament. I think that the goddess of victory will gently smile and snuggle to those who believe in their own ways and work hard. Not only sports, but also a song for those who believe in their own way and walk steadily.

Duration：6'10"

The Smile of Nike, Memorial March (2007/2019)

For Wind Ensemble or Concert Band

In this work, I have no expression of anything special or a story to explain, but like "Shining Soul" (2009), which I composed in hope of the recovery of my sick father, It's clear that some emotion in my mind and the surrounding environment provide a great backdrop (they are hard to explain, so composers are represented by musical notes).

In composing, I set myself some themes about its composition (while maintaining the general form of a march).

One is not to make a "brave" march.

The other is to attempt a polyphonic development with two motifs (one presented in the first 4 bars and one presented in [A]) as the nucleus. It is noticeable in the first half of the song, where each motif is moving on and on, sometimes in dialogue (not "confrontation").

As a result, I think that it was possible to express energy differently from general marches.

Shining Soul 2, Concert March (2012/2020)

This is a concert march composed in January 2004 to commemorate the 30th regular concert of the Kitakyushu Fire department Band, in which I was the music director at that time.
The work was written with respect and appreciation for those who worked hard for many years and those who supported us.
The work is not an image of a special scene or story, but when composing, there was always a brave and kind-hearted fireman in my head. The respect for those members is also included in this work.
The premiere was held at Yahata Civic Hall (Kitakyushu City) on March 27 of the same year.
Duration : ca. 4’10”
There are many things in common with the materials and wording used in the band works I composed so far, "Bright Summer Music (2000)", "Intrada(2002)", "Prelude : in Just- (2003 / published by Golden Hearts Publications)", but I think that my "words" have become clearer. Also, without this work, later works such as "The Smile of NIKE - Memorial March (2007 / Golden Hearts Publications)" may have been more different.
The work I wrote for the concert which reached one milestone became a milestone in my own creative activities ... a special work for me in that sense.

Salutation, An Occational March (2004/2020)

I composed this piece in 2010, and it was performed by local high school students in Oita the following year (not a commissioned piece), but it was put in storage 😅.
I'm currently reviewing all the marches I've composed so far, and when I review them, I wonder if this piece wasn't so bad... 😉
Compared to my other marches, there are very few things in this piece that I would like to change 😉.
Originally, I was trying to make it more "gentle" than the marches I had composed before. Technically, it's not as difficult as some of my other marches.
At first listen, it sounds like a "contest march" from some other country...😅?
Well, I had the intention to dare to make it that way... 😉
Anyway, it might be "different" from all my marches...

Step for Step, (March)

For Saxophone Large Ensemble (or Saxophone Orchestra)

The title of the work is based on the poem "Dirge for the New Sunrise" written by Edith Sitwell. However, the work does not trace the content of the poem.
Here is "dialogue between those who have fallen into war and those who live in the present age."
Through this dialogue, I express my determination for peace.

Dirge for the New Sunrise, for Saxophone Ensemble (2004)

For Clarinet(in A) and Piano

This work is published by "Golden Haerts Pubulications".

https://global.goldenheartspublications.com/collections/kenichi-masakado%E6%AD%A3%E9%96%80%E7%A0%94%E4%B8%80-1/products/ghmb-04

Composed in August 2019, commissioned by Noriko Kutaragi, a clarinet player who is a classmate at the university. On September 29 of the same year, we had a premiere in Oita City (the piano was Junko Kubo).

“I want to play the arrangement of old Japanese songs” was the first plan by Ms. Kutaragi. During a meeting with her, a story came up saying, “I like Hakushu Kitahara, a poet from the same birthplace (Chikugo, Fukuoka Prefecture)”. I gave some candidates, and finally I chose my favorite “SUNAYAMA” (composed by Shinpei Nakayama).

The music begins with the original “Sunayama” after a short introduction. It will be played twice, but the second time it will change the harmony boldly, and the clarinet will decorate the “Sunayama” played by the piano. Next, a triple-time x eight-measure "theme" based on the first passage of "Sunayama" appears, and the Chaconne begins in earnest.
I'm not particularly aware of the content of the poems of Hakushu, but I think that it is possible to link the world view of poetry in the rough scenes at the end of the music and the last scenes that disappear quietly.

"Sunayama" is said to have sang the autumn seaside.
Since the premiere was in September, I thought it was a good seasonal choice ...
And my hometown of Fukuoka is on the Sea of Japan side as well as Niigata, which was sung by poetry.
During this season, I often saw “Guankai rough waves”. The color of the sea that is never blue has emerged many times during the composition.
In that case, it may have been necessary to select “Sunayama”.

Chaconne, on Japanese Folk Song "Sunayama", for Clarinet in A and Piano(2019)

This work is published by "Golden Haerts Pubulications".

https://global.goldenheartspublications.com/collections/kenichi-masakado%E6%AD%A3%E9%96%80%E7%A0%94%E4%B8%80-1/products/ghmb-10

"kibou" means "hope" in Japanese.

This is a "prayer" song with the hope that the world will be a place where everyone can look forward with a calm mind.

Vocalise 2 : kibou, for Oboe & Piano (2000/2020)

Homage for Wind Band (2014)

"Kuroda-Bushi" is a famous folk song in Fukuoka prefecture, Japan.

A folk song tells us, "For more than 400 years ago, Kuroda family retainer Mori went to Fukushima, the warlord of Hiroshima, at the command of his lord, Kuroda.
Mori is persistently recommended by Fukushima for sake, but he stubbornly refuses. Furiously angry, Fukushima says, "If you drink this, you will get the desired product."
Mori said, "If you can give me that spear," he drunk drunkenly and got the big spear that was the Fukushima family's heirloom."

With this story in mind, I made a Jazz arrangement with the image of Mori who was said to have been a heavy drinker.

KURODA - BUSHI, for Wind Band (2006)

INTRADA, for Wind Band (2002)

Bright Summer Music, for Wind Band (2000)

This work is published by "Golden Haerts Pubulications".

https://global.goldenheartspublications.com/collections/kenichi-masakado%E6%AD%A3%E9%96%80%E7%A0%94%E4%B8%80-1/products/ghmb-02

As a proverb "Two heads are better than one", it would be a good idea to imagine a discussion by three people in this song: to draw some conclusions or to draw out wisdom, It sometimes seems to argue with each other while responding (or imitating) one another and repelling one time. I think that it seems like it is processed in a chromatic manner as in the title, and I think that it is somewhat cold and severe tune. Nonetheless, it is by no means pessimistic music as indicated by "Scherzando" at the beginning. Although it is a chromatic scale, it is not a tonality, but a tonal feeling drifts slightly, so I believe that it is never difficult to draw conclusions and wisdom from everyone being played. In addition, although it is titled "RONDO", it is also intended to show that active discussions will be carried out starting from the core motifs, not the format of the work. Was it just as saying that "The Congress dances"?

In 2006 I started composing with the thought that "a thoroughly polyphonic trio song". It was in June 2009 that it was completed with a long interruption. Premiere on December 3, 2011, Kanazawa saxophone ensemble "The 23rd regular concert", by Takuro Ogawa (Soprano sax.), Chiharu Ito (Alto sax.), Masashito Ooue (Tenor sax.). Please note that I received a lot of advice from Mr. Keiji Munesada when premiere (I also reflect advice from him on this publication).

RONDO CHROMATIQUE, for Saxophone Trio (2009)

arioso, for Clarinet Octet (or Choir) (2005/2019)

Born in Kasuga, Fukuoka Prefecture, Japan in 1966.
Graduated from Musashino Academia Musicae, Tokyo (musicology).
In 1998, I won the 9th Asahi Composition Award (wind music).

I was the music director and conductor for the Band of Kitakyushu City Fire and Disaster Management Department (2003~2005) and Oita Prefectural Police Music Band (2006~2017).

In 2008, produced ceremony music for the National Sports Festival and conducted the ceremony band and chorus.

I composed many pieces for Wind band and wind instruments, including “EMBLEMS, Militaly March” (the required piece for the 1999 All Japan Band Contest).
The works are performed not only in Japan but also in the United States.
“EMBLEMS, Militaly March” was adopted twice (in 2009 and 2013) as a test piece in the contest in Taiwan.

In addition to composing and arranging activities, I am also a judge for the competition, researcher, and author.

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