Nocturne for Ted

Nocturne for Ted is written for violin and harp. It was written in memory of my brother who died in 2015. I wanted particularly to explore some more unusual harp techniques. Here it is performed by Helena Moore (violin) and Micol Degl’Innocenti (harp) as part of the Old Works – New Works concert at St. Alfege’s Church, April 7, 2016.

Percussion for Two

Percussion for Two is scored for two tam-tams, cymbals and triangle. I chose to explore the wide range of metallic sounds available from these instruments. Here it is performed by Matt Arnold and Laura Prescott at St. Alfege’s Church, July 7, 2016.


Blaze's harmonic structure is derived from spectral analysis of some ring modulated sine waves generated by a synthesiser. Here is it performed by the Trinity Laban Contemporary Music Group at the National Maritime Museum, 2016.


Lifecycles is the first composition where I explored the sonic harmonic series. The idea is to gradually unfold the harmonic series based on E1, using synthesized sine waves. The process is spatialized by distributing the tones around 9 channels arranged in a circle. Tones were played by each channel based on a chaotic generating pattern derived from Conway’s Game of Life. Here it is performed by the Trinity Laban Contemporary Music Group at the London ICA, 2015, and recorded in stereo.


Emergence was performed by Kathryn Corrigan at the Escher Exhibition opening night, Dulwich Picture Gallery, October 15, 2015. A prevailing theme in Escher’s work is metamorphosis, or the emergence of one form from another. Emergence explores this in sonic terms, where a melody, Spiritus sanctus vivicans vita, composed by Hildegard von Bingen, is allowed to emerged from some simple looping riffs.