︎
works( ){

    Gesture Studies;
    Goin’ Goin’;
    Every Small Sky;
     To the Island;

    Glow;
    Tram Line;
    Partials;
    Stairspace;
    Gymnopedie No.1 Remix;
    Deer Enclosure;
    Through the Glass Ball;
    SOUNDS;

}



concertMusic( ){

    Solo and Chamber;
    Large Ensemble; 
    Choral;
    Multimedia;

}



larryShuen( ){

    //CV;
     Statement;
    Contact;

}

Yuen I

圓I, 2014

for Yangqin and Live Electronics



performed by Ka-yi Yuen and Larry Shuen 

Pipa composed by Akira Nishimura, a Japanese composer, has given me loads of inspiration to compose this piece. Pipa is scored for three guitars and the finger tremolo technique is adopted to create a repeating rhythm, which is played continuously for 10 minutes throughout the piece. Nishimura abandons the possibility that changes in rhythm  can bring to develop a piece, which makes me to reconsider how to compose within certain constraints.

Like Nishimura, Yuen is composed of not only a repeating rhythm, also with restricted intervals (major 2nd), and the rich timbres of Yangqin are not shown deliberately. Regarding to the live electronics, all materials used are produced from the Yangqin and there is no external sound source, as I wish to experiment what can be achieved under limited circumstances. Music begins with a single line formed by repeated notes, which curves slowly when there are changes in pitches and phrasing and eventually forms a circle (Yuen in Cantonese).   

日本作曲家西村朗的作品《琵琶》給了我很大的創作靈感。《琵琶》是為三支結他而寫的，透過結他的輪指形成一個重複節奏，貫穿了整首十分鐘的樂曲。西村朗棄用了節奏的可變性，令我思考如何在有限制的框架內創作。

跟西村朗的做法相似，在《圓》中，除了節奏不斷重複外，音程也限制在大二度，我也刻意遮掩揚琴豐富的音色。電子音樂方面，所有的素材都來自揚琴，沒有外來的聲源，我希望在種種條件下實驗不同的可能。音樂起初是一條由重複音組成的直線，隨後加入微少的變化(如音高，樂句長短等)，使直線慢慢彎曲，最終演化成一個圓形。

//[Score preview]
Mark