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To The Beginning Of Time.

This is my first solo E.P for piano and electronics. It explores the interesting sonorous qualities of the piano and how it can seamlessly interweave with electronics. It combines bass synth, radio, a 78 player, tape echo and a real plate reverb to create interesting sounds and textures with the piano.

It was recorded at the Goldsmiths Music Studios with Recording Engineer Joy Stacey and was mastered by Jan Pickup.

Murmurations for String Quartet.

The piece was originally written for my final Undergraduate Composition project and the recording is from a workshop with the Kreutzer Quartet on June 11th 2017 at Goldsmiths University.


The compositions explores the sonorities created through close interlocking string relationships and extended techniques. The work isn’t concerned with individual parts but instead the affect of the combination of all separate parts working as one unit. It is inspired by the spectral influenced work of of Georg Friedrich Haas and Giacinto Scelsi but hopes to disrupt the usual expectations of the practice.

See full score here, for use please contact.

Hissing in my Ear.

Piece for Bass Synthesizer, Radio and Voice, based on a poem by Gerald B. Frank. The piece is performed live from a graphic score and represents many of the different sounds tinnitus sufferers hear.

The recording is from the first performance, coordinated by the New Music Ensemble and part of Pure Gold Festival in June 2016


Performers: Voice - Anna Gunn, Radio: Chase Zoley Synth: Sam Bland

Homage to Rojava.

Trio piece for: Piano, Violin and Clarinet. The main section of the piece is base on the G Shad Arabian scale and is my homage to the revolution of 2013 and the struggle for the autonomous region of Rojava.


See full score here, for use please contact.

Is this what I heard, or what I thought?

The initial inspiration for this piece come from the writing and musical language of Toru Takemitsu and explores the idea of a distant memory.


The main basis of the piece comes from a quoted piece of material from Takemitsu’s work, Litany. Litany was written in 1989 and was a “reconstruction from memory” (Peter Burt, The Music of Toru Takemitsu), of Lento (1951), one of Takemitsu’s earliest pieces. I wanted to imagine this idea of recapturing musical a memory in my own work, by having a melody that is slowly distorted through alterations and transformations.

See full score here, for use please contact.


Trio piece for: Piano, Clarinet and Flute. The piece is based around Messiaen's 8-note Octatonic scale from his scales of limited transposition. 

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