Solar (feat. Nathan Canfield)
Solar draws from an early April moment when the sunlight felt unusually bright and intense, lasting for days before the Great North American Eclipse of 2024. The memory is vivid and physical—the smell of wet soil, sweet grass, and fresh rainwater in the woods. The piece carries that same intensity, with a warm, glowing tone and active inner voices in the right hand that flicker and shift beneath the surface. Rather than stillness, there is a sense of radiance and momentum, as if the music is lit from within, holding onto that surge of light at its fullest.
Meteors (feat. Nathan Canfield)
Meteors reflects a brief and personal moment of loss. In 2024, the composer’s uncle—her father’s only brother—passed away after years of illness. At the time, her father was in the United States helping care for his newborn granddaughter, and their final meeting took place over a video call, where fragility and distance were felt all at once. This was also the first time she saw her father cry. The piece is short and moves at a fast pace, echoing the fleeting nature of life, like meteors that appear suddenly, burn brightly, and vanish just as quickly.
Whirlpool (feat. Nathan Canfield)
“Do you believe in the afterlife?” The piece explores this question through a slow, contemplative sound world shaped by long pedals that create an underwater effect. The sustained resonance blurs the harmony, giving the sense of drifting into another dimension where time feels suspended. Soft pulsing chords emerge and fade, suggesting both movement and stillness. Rather than offering an answer, the piece lingers in question—inviting the listener to inhabit a space between presence and absence, where sound becomes a medium for reflection, mystery, and the possibility of something beyond.
Nocturne (feat. Nathan Canfield)
This piece grew out of working on Nocturne in C Minor, No. 2 by John Field with an adult student. I was drawn to the way the melody feels so natural, supported by harmonies that are simple but quietly expressive. Those textures stay clear and uncluttered, which gives the music a kind of honesty. My piece is an attempt at this style, exploring that same sense of lyricism and intimacy.
Translantic (feat. Nathan Canfield)
Transatlantic unfolds like a restless journey. It begins with a sense of motion—fleeting, almost breathless—captured through shimmering arpeggios that ripple across the piano like wind over water. The texture feels fluid and searching, as if tracing the path of a lone seagull cutting through open air, drawn instinctively toward the ocean. There is a quiet question beneath the movement—why does it return, what calls it back? As the harmonies stretch outward, they reflect the glimmering vastness below, evoking both distance and familiarity. The piece carries an undercurrent of longing, a pull toward something just beyond reach, where motion and memory blur into one continuous horizon.
Faure – Improvisation op. 84 no. 5
A practice video that I recorded in my GA office back in my graduate student days. I first heard this piece played by professor William Hughes and fell in love with it right away.
Fervent (II & III) by Graham Fitkin
I am always eager to discover new music. This is a piece that was written by a living composer Graham Fitkin. The piece was recommended by my mentor, Dr. Beverley Simms. I performed 2 movements for the Indiana State University Contemporary Music Festival in 2017.