Contact me if you would like to perform my music. My compositions reflect my what I do in my music theory research. For example, as I was writing on diatonic-modal transformations, I couldn’t help but write a cello suite structured around these relations. Among all theoretical topics, canons remain a central technique in my music. Canons are by nature communal music, they are the highest expression of musical symmetry, and they naturally encourage audiences to listen for musical transformations in pitch and time dimensions.

Physical sheet music is available for purchase at Subito Music.

77 Canonic Variations on Twinkle Twinkle Little Star (2020)

for piano, 40′

Pentatonic Signature Canons (2018)

for violin and cello, 5’30”

Inspired by Chinese pentatonic and related mathematical music theory. The strict imitation between two instruments are distorted through 5-note scales. Premiered at Indiana University, 2018 by Jinny Park and myself.

Subtactus Canons (2017)

for clarinet and bass clarinet or bari sax, 7’20”

Tactus is a beat that’s easy to tap. Here, the two instruments play the same music delayed by less than a beat (i.e., sub-tactus), something super hard to coordinate. Premiered at Indiana University, Bloomington in 2016/2017 by John Heilig and myself. (There’s not a lot of rests so John nearly passed out.)

Simple Music in Triple Time

for piano (2016-17)
Where my music-theory research first morphed into composition. Pop music nowadays are mostly in 4/4. Here’s some love for 3/4. The first movement re mi (re do) is dedicated to my partner. Its two sections are mirror reflections of each other on the keyboard’s black and white keys.