Arirang Dances for Wind Band is a wind ensemble adaptation of my orchestral work Arirang Suite, originally commissioned for and premiered at the East Asia Music Festival 2025 in Hiroshima. The wind version received its world premiere in August 2025 at the Jeju International Wind Ensemble Festival, performed by the Korean Wind Orchestra under the baton of Maestro Lee Cheol-Woong.In preparing this version, I took current ensemble conditions into account and included several optional instruments so that the piece may be performed by smallerensembles.
The composition draws upon four regional variants of the traditional Korean folk song ?gArirang,?h one of the most beloved and widely transmitted melodies throughout Korea. Each movement is based on a different regional Arirang, forming a suite of four contrasting miniature dances, each with its own distinct character.

I. Gyeonggi Arirang (Allegro)
This movement is based on the most widely recognized version of Arirang from northwestern Korea, particularly the Seoul and Gyeonggi-do region. The familiar melody is presented in a bright and rhythmically energized setting, freely reimagined in a contemporary musical language.

II. Jindo Arirang (Moderato)
Originating from Jindo Island in southwestern Korea, this version of Arirang is closely associated with indigenous and shamanistic traditions. While traditionally set in triple meter, it is reinterpreted here primarily in duple meter, offering a renewed rhythmic vitality while retaining its earthy and grounded character.

III. Miryang Arirang (Largo)
Miryang Arirang, from the southeastern region of Korea near Busan, is known for its passionate and expressive qualities. In this movement, it is transformed into a lyrical slow movement, emphasizing its emotional depth and expansive melodic line.

IV. Gangwon-do Arirang (Vivo)
The Arirang of Gangwon-do in northeastern Korea is distinguished by its lively quintuple meter. This final movement preserves the energetic five-beat pulse of the original, bringing the suite to a spirited and rhythmically vibrant conclusion.

Performance Notes:
The following remarks are offered as gentle suggestions.Since the piece is based on four regional versions of Arirang, I believe it may be effective to shape each movement with clear contrast in character. Differences in tempo, articulation, tone color, and phrasing might help bring out the individuality of each region.In rhythmically active sections, I think maintaining a natural sense of pulse and lightness will support the music?fs vitality. In lyrical passages, allowing the melodic lines to sing with warmth and expressive breadth may enhance their emotional depth.In the final movement, written in quintuple meter, I believe it may be helpful to feel the five-beat pulse as a flowing gesture rather than as something irregular.
I hope each ensemble will find its own colors and spirit within the music of Arirang.

(Park Soo-Hyun)