Sebastian Chang throws back his hair in a dramatic gesture while playing a virtuostic passage on a Fazioli Grand Piano onstage in front of the Britt Festival Orchestra premiering his Piano Concerto "The Empress". He is dressed in a dark grey suit and is wearing a purple tie with a tie clip. His hair is styled half up, half down, and is flying in the air.

Composition

Orchestras that perform Sebastian's music:

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Piano

Lifelong passion for music has evolved into a variety of jobs in Sebastian's performance career, encompassing such positions as piano soloist, piano accompanist, & keyboard player in both synthesized modern pop style and acoustic Baroque-style continuo.

Sebastian works with singers, instrumentalists, chamber ensembles, bands, and orchestras.

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Bespoke Musical Solutions

  • Original compositions for any instruments or ensembles
  • Solo classical piano composition(s), performance(s), or both
  • Chamber music composition & performance
  • Solo piano accompaniment for vocalists & instrumentalists
  • Recording Studio & Session Tracking
  • Orchestral Piano, Keyboard, & Synth coverage
  • Film underscore
  • Video game soundtrack
  • Original music for cross-disciplinary projects (Music +Ballet, +Theatre, +Art Installation, +Performance Art, et al.)
  • Additional services offered include but are not limited to: Arrangement, Orchestration, Transcription, Reduction, Engraving, Part-Making, Proof-reading, et al.
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Sebastian sitting on a rock at Red River Gorge in Kentucky. He wears a grey beanie, a black hoodie, and brown hiking boots. The backdrop is a gently sloping hill filled with tall, lushly green trees. Delicate foliage, peppering the ground, rise up above the wooded, leafy ground into a textured rock face.

A History of Music & What Sebastian Provides

Music's story is astounding. It began in prehistoric times from songs passed on before written language. These songs were later accompanied by simple instruments. Music found a home through the church, ushering in the genesis of notation. The composers of the canon shaped our understanding of music through it.

The rise of technology dominates our milieu. The creation of new musical settings, such as film, television, or video games, have expanded some possibilities in musicians' creative processes, while limiting other areas of development. Streaming technologies have changed how we consume music.

Through all of this, the underlying structures of music remain coherent.  Larger-scale structural intention and pattern-based generative musical development may prove elusive in a generative philosophy that hasn't been exposed to analysis of canonical music. The value of working with and against traditional structures can be measured from a historical perspective that is aware of the disposition of the listener in modern day. What things mean is calibrated through knowledge of the meaning of symbols within modern day and an experiential knowledge of emotive content of the music.

Familiarity with fundamental concepts and an understanding of how to use them on the fly offers the musician a platform in which to maneuver through various expressions of today's multilingual exchange. This familiarity and flexibility paradoxically offers the musician extended moments of improvisatory spontaneity, and the ability to stay active in a variety of settings.