Composition is at the centre of what I do. It allows me to express myself in ways that words cannot, and to truly connect with people from all around the world. One of my favourite quotes is “Music has the ability to speak to everyone around the world, and it is important that we carry its message, particularly in today’s climate” (Dominic Peckham, 2017), and I try to live by this every day and instil this in to each and every one of my compositions.

My compositions are generally of a contemporary style, though in many, I will try to uphold the traditions of earlier music, particularly in my choral works. For example, in many of my choral works, I will use the entirety or aspects of medieval Gregorian chant; this is notably the case in my works Personent Hodie and Requiem. While I want to bring music on, and very much enjoy contemporary style, I feel that we owe it to our predecessors to continue using some aspects of previous eras in music. It is important to understand where the divide between contemporary and pastiche should be drawn, and this, along wth music’s innate ability to transcend cultural divides, is what interests me most in terms of composition.

Choral Works

Choral music has always been an integral part of my life, both in its sacred and secular forms. Composing it gives me a wonderful opportunity to connect on a personal level with both the performers and the audience in a way that is not possible with instruments.

* = commissioned work;   ± = in progress


Chamber music allows for each performer to show off their talents and allows for a more intimate work to be created.

* = commissioned work;   ± = in progress

Instrumental Works

Solo works have always and will always remain at the heart of any musicians’ repertoire. It is essential that good solo works continue to be written as music progresses and instrumentalists hunger for more content. This is particularly the case for modern instruments, like the Bass Clarinet.

* = commissioned work;   ± = in progress

Music for Film

Film music is extremely powerful in its ability to instil emotion and ideas in its listeners, particularly through its combination with other mediums. Whether it be silent film music or large modern film scores, the music is always at the heart of the film.

  • The Lion’s Cage (Chaplin)

* = commissioned work;   ± = in progress


Arrangements can be made to cater to essentially any ensemble or style there is. The true power of them is that you can take pretty much any work and make it playable by any ensemble, which makes the music more accessible.

  • English Folk Song Suite (Vaughan-Williams), for Chamber Orchestra *
  • Festive Trumpet Tune (German), for Concert Band
  • Let All Mortal Flesh Keep Silence (Holst)

* = commissioned work;   ± = in progress