Water no. 3 

Water no. 3 was composed for as a kind of experiment in musical calligraphy. The piece explores performers’ initial, intuitive reactions to melody when it is presented in unfamiliar visual contexts—contexts that are typically irrelevant in standard music notation, such as line color, thickness, clarity, and texture. 

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In my view, this is an effective and deeply personal way to write music. It reveals the smallest gestures of the hand, lending the line an artistic and human quality that often gets lost in conventional notation. The score becomes not just a set of instructions, but a visual and emotional extension of the music itself—something expressive and alive.