Category Archives: Performances

Singaporean Crosswalk (2016) – for laptop ensemble


Singaporean Crosswalk was inspired by my trip to Singapore in 2010. The sound of the traffic light in the city was quite different from that of the United States and Korea.


It was fun, effective, and musically intriguing. During the day, this sound was a theme song for the people in a metropolis. During the night, the traffic lights became part of a flora and fauna surrounding the city. I thank SPLICE Ensemble for commissioning and premiering this piece. I also thank Oberlin College’s Center for Information and Technology for renting me multiple computers.

 Singaporean Crosswalk requires four laptops and four players. It uses the internal speaker and microphone of the laptop, so there is no additional equipment needed. The essence of the piece is in the creation of unique spatialization through physical movement of the laptop players on and off the stage. The recording of the premiere thus does not demonstrate the most interesting part of the piece, but you can at least hear the general atmosphere.


All materials needed to play the piece is uploaded on the top folder of this page. Let me know if you have any questions or need different versions (i.e. for trio, octet, etc).


JNNJ – for percussion duo and computer


JNNJ was commissioned and premiered by Hunter Brown and Louis Pino in 2016.  The piece is inspired by the life and dynamics of my family. The title is a combination of the first letters of mom, dad, and two sons.

Technical Needs

  • One computer with a DAW or Max: Download files from . A Logic Pro X session is provided on the composer’s website, but any DAW will work.  The tape part can also be played with the provided Max patch.
  • Two speakers (stereo)
  • Two headphones for click tracks
  • An audio Interface with four separate outputs
  • TapeL.aif should be routed to output 1, connected to the left speaker
  • TapeR.aif should be routed to output 2, connected to the right speaker
  • ClickTrackL.aif should be routed to output 3, connected to Perc1’s click track
  • ClickTrackL.aif should be routed to output 4, connected to Perc2’s click track

Score Legends


Performance Needs

  • Two percussionists with a snare drum and a large cymbal for each performer.
  • Both performers use brushes for the entire piece.
  • Perc1  stands close to the left speaker, and Perc2 stands close to the right speaker

Performance Notes

  • Each performer gets his/her own click track. The click tracks will run in different tempi, and will gradually change the rate over the entire piece. Each performer should follow the tempo of his/her own click track.
  • Interpret the score like a jazz chart. Improvise in the notated style (funk and swing).
  • Pay attention to the pitch of the click track to hear the section changes.
  • Section-specific notes:
  1. S1: The tape part will fade in at around 20 seconds mark.
  2. S2Perc1  transforms the rhythmic pattern to a swing  (indicated as “target rhythm”) while slowing down.
  3. S3: Perc2 transforms the rhythmic  pattern to more energetic and busy funk rhythm while slowing down. Listen for the white noise cue for the next section.
  4. S4: Both Perc1 and Perc2 trade off solo while speeding up. The trade off will gradually overlap each other. Listen for the white noise cues to play uneven brush sweep on cymbals.
  5. S5: Both parts will speed up significantly. When the tempo becomes too fast, freely improvise with great energy. Increase the use of cymbals throughout the section.
  6. S6: Both Perc1 and Perc2 plays energetic cymbal improvisation while slowing down. Accompany the tape part after the click track stops. At the end of the tape part (7:00), create a quiet windy sound by swinging the brush in the air.

Hallelujah – for vibraphone and computer


Program Notes

This piece is a praise on things and events that are beyond my comprehension and control. Effect of subtle sonic changes on my mind, body, and soul is an example of such things.

Hardware Setup and Instruments

  1. One vibraphone with a working motor
  2. Soft mallets  and a bow
  3. A computer with SuperCollider : Setup the computer near the vibraphone so that you may see the screen. A Macintosh is preferred but not necessary. The SuperCollider application can be downloaded for free at
  4. Hallelujah.scd file: The file can be downloaded from here
  5. One audio interface and one microphone : Connect a condenser microphone into the input 1 of the interface. Connect the interface to the computer.  Alternatively, you can use a USB microphone and no interface.
  6. A sound reinforcement system: connect the stereo output of the interface to the speaker(s). The speakers should be located in close distance to the vibraphone. Putting the speaker right behind the performer should work in small-medium sized venue.

Performance Notes

  1. Volume : The overall volume of the piece should not be loud. The computer part should be just loud enough to hear the pulsing between the vibraphone and the sine tone parts.
  2. Pedal : Pedal is always on. Muffle notes with the mallet on mm 51 (notated with ‘x’ ).
  3. Motor : Set to slow.  Motor is on from mm 53 to 79.
  4. Bowing : There are three notes in the vibraphone part that needs to be bowed (mm 65, 74, and 76).
  5. Pedal : Setup the vibraphone so that the pedal is always on.
  6. Count-In : Measure 1 starts after four beats of count in. Refer to the Visual Click Track window on the computer screen. The performer may interpret the timing of the notes.
  7. Notation of Computer Part : The computer part has three odd-shaped note heads. The rectangle represents a sine tone that changes its frequency when a vibraphone notes are played. The triangle represents a wobbly tone with rhythmic variation. And the diamond represents a note with rich overtones. All computer parts are long and gradual. You may start to notice the computer part about a measure or two after they are triggered at the notated measures. For example. the rectangular note in measure 5 will start to have a audible volume at around measure 6.

How to Run the Computer Part

  1. Make sure that your audio interface is set as the default input and output device for the computer.
  2. Open Haellelujah.scd file in SuperCollider
  3. Go to Menu and select Language->Evaluate File.
  4. Measure 1 starts after four beats count in.
  5. Press command+period (.) or select Language->Stop to stop the computer part
  6. Repeat steps 2-5 for rehearsal and practice.



Double Decker Music Series

I participated in Double Decker Music Series in last September, and it was easily the most fun gig I did in this year.

DDMS is organized by Sebastian Petsu and Bowerbird in Philadelphia. According to the website, “the Double Decker Music series is a unique, intimate mobile concert experience on an open-top double-decker bus. It features live performances in an urban setting paired with a guided tour of Philadelphia’s attractions.” In other words, it’s an experimental music show on a tour bus. Imagine that!

I played a 30min set with no-input mixer and custom synth (and no computer!) on a perfect September weather in Philadelphia for my friends and strangers. The tour bus passed by the Eagles stadium, Far-South Philly, and other places that represents an interesting side of the city. In my performance, I interacted with street musicians, police cars, random drunk people, and street lights. At one point, there was a helicopter hovering above the bus, and I played and interacted with one of the most amazing machine sounds.  I was also happy to share the stage with Myrrias, who played beautiful music (I remember their very unique keyboard!). Sebastian was also an excellent tour guide. Take his bus if you want to tour Philadelphia.

I begin to play at around 7:30, but I suggest you to watch the entire video. It’s quite fun.


Armor+2 – for clarinet and computer

Required Software and Hardware

  1. Bb clarinet and Bass clarinet : A solo player will switch the instruments during the piece.
  2. Computer : a Macintosh with OS 10.9+ is preferred, but PC should also work.
  3. SuperCollider : this is a free software that runs the computer part.  Download it at if SuperCollider is not installed already
  4. Armor+2.scd file : this is the computer part for the piece. If you don’t have it already, download it from the composer’s website (Here) or contact the composer at
  5. One Microphone: Close-mic the clarinet. A good condenser microphones is preferred.
  6. Audio Interface: The interface should have at least one microphone inputs and three outputs. The first two outputs send computer part. The third output sends a click track.
  7. Headphone: connect the click track output to the headphone for the performer.
  8. Speakers/PA : Connect the stereo output of the audio interface to the sound reinforcement system.

How to Use Armor+2.scd File

  1. Make sure that your audio interface is set as the default input and output device for the computer.
  2. Open Armor+2.scd in SuperCollider.
  3. Go to Menu-> Language-> Evaluate File.
  4. You will hear measure 1 in few seconds. Press command+period(.) or go to Menu-> Language-> Stop  to stop.
  5. Repeat steps 3-4 to restart.
  6. Do not let the computer go to sleep mode. It may cause a disconnection between the hardware and software.

Performance Instructions

  1. The electronic part should be as loud as the acoustic part. Adjust the gain and/or microphone position accordingly. Most of the computer parts are live-processed or algorithmic. The computer part processes the sound of the ensemble in realtime, and it will sound slightly different in each performance.  It is important to follow the tempo as accurately as possible to be in sync with the computer part.  The click track is not absolutely necessary, but it may assist the performance. The performer should be able to operate the computer part as the computer part requires runs automatically after the first measure.
  2. The click track starts at measure 1 without a count off. Place the bass clarinet near the performance space for a quick switch at measure 68.
  3. The following boxed words notated in the computer part indicate an addition or variation of the computer part: AM, AM2, and FM add harmonic elements. Ticks are short percussive sounds. Stutter imitates a short segment of the performer’s sound. Reverb simulates a room sound. Pad is a long synthesized tone, which can have a smooth or sharp beginning.
  4. There are some extra files in the download site. If the performer wants to practice the piece by sections, use the files in ForPractice folder. Armor+2-ClickOnLeft.scd has the click track on the left channel. If the performer does not want to operate SuperCollider part during the practice, he/she can use the recorded electronics part in ForTapeVersion folder.