Compositions
First Composition
Korean Melody, Jazz Waltz Rhythm
Arirang is one of the most well-known Korean folk songs, and it originally developed as a vocal song sung by everyday people, especially farmers and laborers working in fields or traveling long distances. Because it was passed down orally rather than written by a single composer, the melody is simple, emotional, and easy to remember. This allowed people to sing it together while working, expressing shared feelings of hardship, hope, and perseverance. To stay true to the traditional sound of Arirang, I based my arrangement on the pentatonic scale, which is a scale made up of five main notes instead of the usual seven found in Western major and minor scales. Many Korean folk songs use this scale because it creates an open, flowing sound that feels natural and expressive rather than tense or resolved. While Arirang is commonly sung in the key of F major, I transcribed it into the key of D, which works better for the instrumental range and allows the melody to sit more comfortably within the arrangement. I also incorporated jazz elements to connect Korean traditional music with a modern musical language. Specifically, I arranged the piece in ¾ time, also known as a waltz feel, which is frequently used in jazz to create a sense of motion and lyricism. This rhythm allows the melody to breathe and gives space for expressive phrasing, similar to how Arirang would have been sung freely by voice. By combining the pentatonic melody with jazz harmony and rhythm, I aimed to preserve the emotional core of Arirang while reimagining it in a new stylistic context.
Second Composition
Jazz Melody, Korean Hwimori Jangdan Rhythm
This composition is based on the hwimori jangdan, a traditional Korean rhythmic pattern that is known for its fast tempo and driving energy. Hwimori is commonly used in Korean music to create excitement and forward motion, often appearing at moments of emotional intensity or climax. The rhym is characterized by triplet-based beats on counts 1 and 3, followed by fast, straight eighth-note patterns, which gives the music a feeling of constant momentum. I built the main melody of this piece directly from the rhythmic structure of hwimori jangdan, rather than starting with harmony or chords. By shaping the melody around the rhythmic pattern, the music reflects how Korean traditional music often prioritzes rhythm as a foundation for expression. This approach helps the melody feel closely connected to the physical pulse and energy of the rhythm, even for listeners who may not be familiar with Korean music. To connect this traditional rhythmic style with jazz, I incorporated a bass line and chordal harmony into the arrangement. The bass line adds a sense of groove and harmonic direction, while the chords create a jazz-influenced melodic and harmonic color. Even though the rhythm is rooted in hwimori jangdan, the jazz elements soften and expand the texture, allowing the piece to feel both grounded and improvised.
Third Composition
Korean Melody, Jazz Waltz Rhythm
This composition is inspired by Doraji Taryeong, a traditional Korean folk song associated with work, repetition, and communal movement, especially songs sung while harvesting or preparing doraji which are bellflower roots. The original song has a steady, cyclical rhythmic feel that reflects physical labor and shared effort. I wanted to capture that repetitive quality while reimagining it through a jazz framework. I used a ¾ waltz feel as the rhythmic foundation of the piece. In jazz, waltz time often creates a sense of flow and forward motion while still feeling relaxed. This worked well with the rhythmic feeling of Doraji Taryeong which naturally emphasized repetition. The three-beat cycle allows the music to feel circular rather than driving toward a strong resolution, mirroring the way folk songs often repeat to support ongoing work. The main melody is built on a pentatonic scale commonly used in Korean folk music. The scale allows a feeling of openness and earthiness, which allows the melody to feel vocal and expressive similarly to how Doraji Taryeong would traditionally be sung. I intentionally kept the melody narrow and repetitive to reflect the folk-song origin, while allowing subtle variations like some arcs to keep it musically engaging. I did the same as previous compositions by incorporating jazz elements by adding harmony and bass movement underneath the pentatonic melody. The chords provide color without overpowering the folk character of the tune but still has movement and flow.
Fourth Composition
Jazz Melody, Korean Jajinmori Jangdan Rhythm
This composition is based on jajinmori jangdan, a traditional Korean rhythmic pattern known for its fast, continuous motion and lively energy. Jajinmori is commonly used in Korean folk music, pansori, and sanjo to create excitement and momentum, often appearing during moments of emotional intensity or storytelling. It's fast pace and repetitive structure make it especially effective for sustaining energy over longer musical passages. One of the defining features of jajinmori jangdan is its constant stream of fast eighth notes which gives the rhythm a sense of drive and motion without feeling rushed. Unlike slower jangdan patterns that emphasize spaciousness, jajinmori creates a groove that feels circular and ongoing. This quality makes it accessible to listeners unfamiliar with Korean music because the rhythm feels natural and dance-like rather than rigid or unpredictable. I chose to use jajinmori in a jazz context because it shares important similarities with jazz groove-based playing. Both traditions rely on steady rhythmic motion, interaction between musicians, and flexibility within a repeating pattern. In this composition, the jajinmori rhythm functions similarly to a jazz vamp: it provides a stable foundation that allows the melody and improvisation to develop freely above it. To integrate jazz elements, I added jazz harmony and bass movement over the jajinmori rhythmic framework. The bass line reinforces the rhythmic pulse and the chords add embellishment and emotional depth.
Fifth Composition
Korean Melody with Jazz Ballad Straight Feel
This composition is inspired by Cheongsanri Byeokgye Suya, a traditional Korean folk song known for its slow tempo, openness, and reflective mood. The song is closely connected to Korean poetic traditions and emphasizes emotional restraint rather than dramatic intensity. Its melody unfolds gradually, leaving space between phrases, which makes it especially suitable for adaptation into a jazz ballad. I arranged this piece as a 4/4 straight-feel jazz ballad, meaning the rhythm is steady and even rather than swung. This choice allows the melody to sound calm and open similarly to how Cheongsanri Byeokgye Suya is traditionally performed with flexible timing and expressive phrasing. The straight feel also helps the listener to focus on the shape and emotion of the melody without being distracted by complex rhythms. The pentatonic structure allows the melody to feel introspective and spacious, resembling the emotional atmosphere of many jazz ballads. I preserved the original sound of the melody while adapting its phrasing to fit within a 4/4 framework.