I composed this piece by combining respect for "Do" and respect for "Do" in action, moving between atonality and tonality.
The organization is a standard two-tube organization. I also pay homage to the compositional styles of the late Romantic period and beyond. (The middle part, around the 7th minute, shows a darker romantic tone)

Symphony No.1 ～ 1st Mov

The second movement also goes back and forth between atonality and tonality, showing respect for "C", but also wanting to escape from the control of C and move to F (etc.), or wanting to be freed from the control of key. It showed something like an intention in which the 12 tones independently formed a series of tones. (Respect for Schoenberg)
In the middle, I inserted a fragment of the melody of the choral song "Hikaru Umi" that I composed about 30 years ago, and I wondered if Do Re Mi was really necessary for the song itself and its accompaniment...? I wrote these questions while also remembering the role of handclaps as an accompaniment instrument.
The arrangement is the same as the first movement, a standard two-wind arrangement.

Symphony No.1 ～ 2nd Mov

The third movement also shows respect for "C" by moving between atonality and tonality, and is a dance-like movement mainly in six and three time signatures.
Wind and percussion instruments play the central role of inciting the dance, creating an image of a dance that is sometimes violent and sometimes languid.

Symphony No.1 ～ 3rd Mov

Final movement completed.
To strengthen the color of the descriptive music, I included notes that evoke the sound of a heartbeat. I was conscious of making the ostinato-like progression of the accompaniment gradually descend in order to express a sense of gravity, with the sound of "C" consistently dominating the entire piece.
In the middle, there are fragments of phrases and related rhythms that exist in the first to third movements, giving it the role of a ``concluding movement'', and since the completion date is September 11th, it is written in the last two minutes. I concluded by writing music that expresses the requiem.

Symphony No.1 〜4th Mov

I composed this piece to commemorate the World Heritage registration of "Jomon Monuments in Hokkaido and Northern Tohoku".

" Jomon Fantasy "  for Wind Orchesra

This overture was composed by me to commemorate the 60th anniversary of the founding of Obihiro Technical High School in Hokkaido.
It was first performed at Obihiro Civic Cultural Hall on August 19, 2023, under the direction of Mr. Kiwami Ota.

Overture  " PROGRESS with TRADITION "  for Wind Orchestra

I composed this piece 15 years ago for an ensemble of first-year students (beginners) at a brass band camp at the school where I work. I have now slightly modified the notes for youtube.

It must have been quite a hurdle for the first-year students, who are beginners on their instruments, to master the piece in a four-day period and perform it in front of their seniors.

With respect to Swearingen, the composition is in the style of "Romanesque" and the introduction is based on the timpani of "The Chesford Portrait".
The last part is in the style of "Pines of Rome" by Respighi.

I have hidden 2 bars of the melody of "Romanescu" in the 55 seconds or so, but can you hear it?

Translated with www.DeepL.com/Translator (free version)

Takuya Ishiwaka