• For a group of six flex soloists and wind ensemble

• Duration: 20 minutes

• Consortium Commission led by Bobby R. Francis at Texas Christian University

• Available in January 2025 for consortium members; available for the public starting July 1, 2026

• Program notes:

    Coping Cadences is envisioned as a concerto grosso that merges traditional and contemporary elements, offering a fresh perspective on the concerto form. With a length of over 20 minutes and composed of multiple movements, this piece will feature a group of 6 soloists, providing flexibility to highlight talents from within the performing ensemble or showcase principal players or faculty members.

    Drawing inspiration from the universal themes of conflict and resolution as presented in the dark comedy series "Beef," Coping Cadences aims to explore these narratives through a musical lens. Each movement will address different aspects of these themes, creating a journey that resonates with both musicians and audiences.

• For concert band

• Duration: 8-10 minutes

• Consortium Commission led by Andy Collinsworth (Sonoma State University) and Chris Ramos (Utah Valley State University) for the Glen Adsit Memorial Fund at CBDNA

• Available in March 2025 for consortium members

• Program notes:

    “My nature is the nature of the cloud – the nature of no birth and no death. Just as it is impossible for a cloud to die, it’s impossible for me to die. I enjoy contemplating my continuation body, just as the cloud enjoys watching the rain fall and become the river far below. If you look closely at yourself, you will see how you too are continuing me in some way. If you breathe in and out, and you find peace, happiness, and fulfillment, you know I am always with you, whether my physical body is still alive or not. I am continued in my many friends, students, and monastic disciples.” – Thich Nhat Hanh, The Art of Living.
     This quotation comes from Thich Nhat Hanh’s The Art of Living. This book is a collection of the Vietnamese monk's ruminations on life and death that guided my partner Glen Adsit through his personal struggles when confronted with his own mortality. As well as being my beloved life partner and musical collaborator, Glen was a beloved figure in the music community who touched the lives of countless collaborators and students. In the wake of Glen’s sudden passing in January 2024 we have all become the rain to Glen’s cloud. His inextinguishable spirit and profound influence continue to resonate deeply within all of us. Although his physical body is no longer with us, we now constitute his continuation body and are charged with continuing his legacy of support and love for one another.
     This piece is a tribute to Glen, the physical life we shared together, and the new life we share as I continue his legacy in my own way. It reflects the profound love and connection we share, both personally and through our collaborative musical endeavors. The piece is lyrical and tender, inviting listeners into the intimate emotional spaces Glen and I navigated together. It captures the essence of Glen's loving spirit — missed by many, cherished by those who experienced his warmth and guidance, and still apparent in the life and work of his family, colleagues, and students. It is both a celebration of Glen's life and the enduring bond he and I share and a tribute to the legacy of love and artistic collaboration that he left behind for all of us to continue together.

      Glen Adsit was a conductor and trombonist. He served as the Director of Bands at The Hartt School and the national president of the College Band Directors National Association.

• For 2 flutes, oboe, 2 Bb clarinets, bass clarinet, bassoon, 2 alto saxophones, tenor saxophone, baritone saxophone, 2 horns in F, 3 trumpets in Bb, 3 trombones, euphonium, tuba, 4 percussion.

• Duration: 6 minutes

• Grade level: 3+

• Commissioned by a consortium organized by CBDNA West/Northwest Regions (Bridgework Commission)

• Premiered at 2024 CBDNA W/NW Regional Conference in Las Vegas, NV

• Available for consortium members in June 2024 with exclusivity until June 30, 2025; available for the public starting July 1, 2025.

• Program notes:

    Starry Ocean is a musical journey that takes listeners deep into the depths of the ocean, capturing the alluring spectacle of marine life as it mirrors the mystical allure of a star-filled sky. The narrative in the music seeks to depict the enchanting undersea landscape that resembles Van Gogh's "Starry Night." The piece begins with a tranquil, serene depiction of the undersea world, gradually building in complexity as the marine life becomes more active and vibrant. The music reflects this flurry of activity within this undersea cosmos, creating a soundscape that is as intriguing as the bioluminescent creatures in the deep ocean.
  Starry Ocean is a celebration of the beauty and mystery of our oceans, presented through the lens of a grade 3+ wind ensemble.

• For piccolo, 2 flutes, 2 oboes, 3 Bb clarinets, bass clarinet, 2 bassoons, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, 4 horns in F, 3 trumpets in Bb, 3 trombones, euphonium, tuba, 4 percussion, double bass.

• Duration: 12 minutes

• Grade level: 5

• Finalist of 2023 NBA/William D. Revelli Composition Contest

• Honorable Mention of 2023 Wlater Beeler Memorial Compeition

• Commissioned by a consortium organized by Andy Collinsworth, Sonoma State University, and Thomas Seddon, Washburn University

• Premiered by "The President's Own" United States Marine Band; Jason Fettig, conductor

• Available for consortium members in October 2023 with exclusivity until December 31, 2024; available for the public starting January 1, 2025.

• Program notes:

    Luminance explores the interplay between light and darkness both musically and thematically. Inspired by the concept of "luminance," this work seeks to evoke a sense of radiance and brilliance through its music.
    At its core, Luminance addresses issues relevant to contemporary society. By exploring themes of hope and despair, inclusion and exclusion, and power and powerlessness, the piece seeks to provide a platform for reflection and conversation. Through its use of evocative tonalities and dynamic contrasts, Luminance aims to inspire audiences to find strength in moments of darkness and embrace the light within themselves.

• For piccolo, 2 flutes, 2 oboes, English horn, Eb clarinet, 3 Bb clarinets, Bass Clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, 3 C trumpets, 4 horns in F, 2 tenor trombones, bass trombone, euphonium, tuba, timpani, 4 percussion, harp, double bass, piano

• Duration: 18 minutes

• Grade level: 6

• Finalist of 2022 NBA/William D. Revelli Composition Contest

• Commissioned by a consortium of 20 wind bands led by Glen Adsit and the Hartt Wind Ensemble

• Premiered by University of Michigan Symphony Band; Michael Haithcock, conductor, September 24, 2021.

• Program notes:

    When people talk about Kung Fu, they often think of China. However, as a composer born and grew up in China, my understanding of Kung Fu was somewhat ambiguous. True, Kung Fu has a strong link with Martial Arts, which has attracted hundreds of thousands of admirers and followers worldwide. However, on the other hand, Kung Fu has become an umbrella term that has come to encompass many aspects of Chinese people's daily lives, such as popular culture, exercise regimens, interpersonal relationships, aesthetics, philosophies, and so on.

    It was not until I encountered a documentary on Bruce Lee's journey with Kung Fu and Hollywood that I started to comprehend the core spirit that Kung Fu has in guiding one's endeavors and life pursuits. As a result, I decided to compose a work with my own reflection of Kung Fu and its spirit.

    In three movements, Kung Fu explores the different styles and levels of what Kung Fu represents to people in a universal way. A more general summary of the Wushu spirit in the first movement, a contrasting second movement focusing on the soft yet powerful Tai Chi, both lead to the final movement of "Jiang Hu." As Bruce Rusk, a professor in the Department of Asian Studies at the University of British Columbia, interpreted, "Jianghu...refers to a social space in which people are away from familial and local ties for extended periods that are governed by informal rules (officials away from home are not in jianghu). I couldn't find a good catchall translation. In this case, it could be "the scene," as Kaiser Kuo suggests, or even "everyone" (implicitly, everyone involved in martial arts)." Jianghu, in this case, is also a representation of my ultimate understanding of Kung Fu. It represents a universal rule, belief, and practice rooted in all of us. It catalyzes to connect people in different backgrounds for a more harmonized society.

    Kung Fu was commissioned by a consortium of 20 wind bands led by conductor Glen Adsit and the Hartt Wind Ensemble.

• For concert band (piccolo, 4 flutes, oboe, clarinet in Eb, 3 clarinets in Bb, bass clarinet in Bb, bassoon, 2 alto saxophones, tenor saxophone, baritone saxophone, 2 horns in F, 3 trumpets in C, 2 tenor trombones, euphonium, tuba, 4 percussion)

• Duration: 4 minutes

• Grade level: 4+

• Premiered by Greater Hartford Youth Wind Ensemble, James Minnix, conductor

• Program notes:
      While initially conceived as a grade 3 piece, Stacking inadvertently progressed into a grade 4 work due to its complexity. Nevertheless, it is an engaging exploration of various scales, an essential element for all musicians to learn and practice. The piece centers around major and minor scales, along with whole-tone and octatonic scales. The underlying energy of the work is driven by dynamic rhythms, in the aim to make Stacking both a challenging and enjoyable musical experience.

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• Available in multiple instrumentations (click grade levels to be directed)

  • Grade 6 (7 minutes): 2 flutes, 2 oboes, 2 Bb clarinets, bass clarinet, 2 bassoons, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, 2 horns in F, Bb trumpet, trombone, double bass, piano, 2 percussion

  • Grade 4 (5 minutes): piccolo, 2 flutes, 2 oboes, 3 Bb clarinets, baa clarinet, 2 bassoons, 2 alto saxophones, tenor saxophone, baritone saxophone, 3 trumpets, 2 horns, 3 tenor trombones, euphonium, tuba, piano, 3 percussion

  • Grade 3 (3 minutes, The Last Hive Mind II): piccolo, 4 flutes, oboe, 3 Bb clarinets, bass clarinet, bassoon, 2 alto saxophone, tenor saxophone, baritone saxophone, 2 horns in F, 3 Bb trumpets, 2 trombones, tuba, 4 percussion

• Grade 3 version was commissioned by the ASPIRE Institute

• Premiered by Foot in the Door Ensemble; Glen Adsit, conductor

• Program notes:

    The Last Hive Mind was written for conductor Glen Adsit and the Foot in the Door Ensemble at the Hartt School. Inspired by the British TV series, Black Mirror, and the general idea of recent increasing debate around artificial intelligence and how it will affect our daily lives as human beings. I put some of my thoughts, perspectives, and imagination into this work. Thanks to Glen for coming up with the dynamic and matching title — it also helped in the shaping of how musical narrative navigates its way throughout.

    Mainly, I was struck by the idea in one episode of "Black Mirror," the "Metalhead." After the unexplained collapse of human society, a group of people tried to flee from the robotic "dogs," a vast hive mind with metal built bodies and powerful computerized "brains." The failure was almost predictable. However, a detail that struck me the most was the reason that these human beings got trapped in the crazy chase was because of their effort of searching a comforting gift for a very sick child — a fluffy teddy bear. In The Last Hive Mind, two forces fight with each other — the robotic, rhythmic, seemingly unbreakable "hive mind" music, versus the dreamy, melodic, and warm "lullaby" tune. Lastly, presented by the piano, the "lullaby" music is also a quote from my mini piano concerto, Canton Snowstorm. As the title indicates, this work depicts the struggle between the artificial intelligence, or the hive mind, and the dimming humanity; furthermore, the work implies the final collapse and breakdown of the last hive mind followed by its triumph.

• Grade 3 (3 minutes): piccolo, 4 flutes, oboe, 3 Bb clarinets, bass clarinet, bassoon, 2 alto saxophone, tenor saxophone, baritone saxophone, 2 horns in F, 3 Bb trumpets, 2 trombones, tuba, 4 percussion

• Commissioned by the ASPIRE Institute

• Premiered by Greater Hartford Youth Wind Ensemble; Glen Adsit, conductor

• Program notes:

    The Last Hive Mind was written for conductor Glen Adsit and the Foot in the Door Ensemble at the Hartt School. Inspired by the British TV series, Black Mirror, and the general idea of recent increasing debate around artificial intelligence and how it will affect our daily lives as human beings. I put some of my thoughts, perspectives, and imagination into this work. Thanks to Glen for coming up with the dynamic and matching title — it also helped in the shaping of how musical narrative navigates its way throughout.

    Mainly, I was struck by the idea in one episode of "Black Mirror," the "Metalhead." After the unexplained collapse of human society, a group of people tried to flee from the robotic "dogs," a vast hive mind with metal built bodies and powerful computerized "brains." The failure was almost predictable. However, a detail that struck me the most was the reason that these human beings got trapped in the crazy chase was because of their effort of searching a comforting gift for a very sick child — a fluffy teddy bear. In The Last Hive Mind, two forces fight with each other — the robotic, rhythmic, seemingly unbreakable "hive mind" music, versus the dreamy, melodic, and warm "lullaby" tune. Lastly, presented by the piano, the "lullaby" music is also a quote from my mini piano concerto, Canton Snowstorm. As the title indicates, this work depicts the struggle between the artificial intelligence, or the hive mind, and the dimming humanity; furthermore, the work implies the final collapse and breakdown of the last hive mind followed by its triumph.

• For 4 flutes, 2 oboes, English horn, Eb clarinet, 3 Bb clarinets, bass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, 4 horns in F, 3 Bb trumpets, 2 trombones, bass trombone, euphonium, tuba, timpani, 4 percussion, piano, double bass

• Duration: 13 minutes

• Grade level: 6

• Winner of 2014 ASCAP/CBDNA Frederick Fennell Prize

• Premiered by Hartt Wind Ensemble; Glen Adsit, conductor

• Program notes:

    As a composer, the first decision I have to make concerns process. The first note of Slippery Slope was put to paper only after I had the whole second movement in mind — at that time, this was one and only movement. And it was not until I had almost finished the movement that I developed ideas about the third movement, and the first, chronologically.

    There are several different levels or definitions interpreted about “slippery slope” in the piece. While the second movement, or the main movement explores various relationships between two different musical personalities (one rigid and angular, the other lyrical and emotional), and constrains every possible growth from developing into a final climax until the very last moment, the third movement offers the audience straightforward and undisguised excitement with the partially humorous, partially passionate journey as it takes so much effort to arrive the peak (the second movement is indeed the longest) before slipping down the slope. Consider the first movement as a mystifying preparation interrupted by several “trailers” — fragments from the subsequent two movements, that either reveal or obscure what will happen next.

    Slippery Slope is dedicated to my mentor Glen Adsit, and is a gift to The Hartt Wind Ensemble, where I served as pianist during my undergraduate school time.