Solo

• Ohi:yo’ for the left hand 2024

  Ohi:yo’ is inspired by The Underground Railroad in Ohio by Kathy Schulz. The movement titles are directly borrowed from the book, which explores the history and stories of antislavery thinkers, supporters, and freedom seekers who traveled the Underground Railroad through Ohio. The first movement reflects the relentless and inhumane whipping and oppression endured by enslaved people, yet also the unbreakable essence of human dignity that could not be destroyed. The second movement depicts the Ohio River, which flowed then as it flows today. The Seneca Indians called it “Ohi:yo’,” meaning “good river.” Freedom seekers had to cross this river whether by walking across its frozen surface on harsh winter nights or swimming through it during warmer seasons. The river stood both as a powerful symbol of freedom and as a formidable barrier to it. The third movement, A House on a High Hill, is inspired by the home of Reverend Rankin, one of the most important figures of the Underground Railroad. The author writes: “When you have the smartest man in the room, next to the richest, the most fervent (Rankin), as well as the mayor, the town doctors, a newspaper editor, and the help of wives and various family members, there is little you cannot do.” In this movement, I aimed to musically depict the imagined scenes of their meetings, lively discussions full of sharp wit, creative solutions, and unwavering hope. As the “river” may have been referenced throughout those conversations, I incorporated fragments from the second movement into the third, allowing listeners to enjoy finding a musical “hidden picture.” This piece was commissioned by Dr. Nick Ross and composed in 2024.

• The Cry of the Whale for Solo Percussion 2022
• The Cry of the Whale for Amplified Piano 2021

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• Scissors Fantasia Toccata for Solo Piano 2017

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  “Scissors” Fantasia Toccata for solo piano, written in 2017, was commissioned by Dr. April Kim, faculty pianist at St Olaf College and premiered in February 2018.

  The piece was inspired by the Scissors dance, a traditional Korean dance performed by taffy sellers in the farmer’s market to attract people’s attention. “Scissors” highlights the percussive nature of the instrument, while portraying visual and auditory characteristics of the dancer and the scissors.

• Pérotin, A Time Traveler for Solo Piano 2015
• Hesitation for Solo Piano 2014
• Lullaby Variation for Solo Piano 2014

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  This variation is based on a nine-measure simple theme. The theme has basic harmonic structure used through the entire piece, and also includes contrapuntal melodic elements and a few musical gestures that are developed in the variations.

  Hymn mainly highlights the harmonic progression of the theme in hymn-like setting with simple rhythm.

  Staccato features staccato gesture from the theme, and simplifies the harmonies into intervals. It opens with the contrast between very low and high registers of the piano and the distance between the registers gets less significant towards the end of the variation.

  Arpeggiation has arpeggios of broken chords from the theme and a few trills. Notes with the tenuto indicate the melodic line hidden in the arpeggio gestures and should be brought out.

  Fuga develops the melodic idea of the theme. This variation is not in an exact fuga form but it has imitation between individual voices using counterpoint.

  High features the high register of the piano based on the harmonic progression of the theme with fast shimmering gestures, trills, and tremolos.

  Low, in contrast, stays in the lower register of the piano with the combination of bass melodic lines and some staccato notes.

  Octaves is written for consecutive octave progression to be played by both hands. It is lyrical yet rhythmic showing both harmonic and melodic elements from the theme. This variation leads the piece into the grand finale.

  The Finale is the last variation of this piece. Overall, bell-like chords are used all over the register of the piano. The huge chords follow the harmonic progression of the theme, and the top notes of the chords carry the melodic idea of the theme. The intervals of the lowest two notes in this variation are mainly the seventh.

  The pianist may choose the order of variations freely except for the last two, Octave and The Finale. These two should be played at the end. Also High should always follow Fuga. Other than that, the pianist can decide the order according to his or her preference. All the variations should be played Attacca.

• 새야 새야(Sae-ya Sae-ya) for Solo Guitar 2010

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• A Butterfly for Solo Clarinet 2010
• 鏡像(A Mirror Image) for Solo Piano 2009
• Theme and 7 Variations for Solo Piano 2004
• 二月(February) for Solo Cello 2001
• Piano Sonata No.1 2001
• Five Pieces for Solo Piano 2001