Before, 2019
electroacoustic composition, 8 channel, 8'18"

According by my video sudy called 'Aleph', I have composed a multi-channel piece for pre-speaking human voice from Swedish and Norwegian radio morning-shows and podcasts. I have manually grabbed every piece of voice before words to create a sonic environment from them. You can listen a stereo mixdown excerpt from the piece.

at the same time, 2014
electroacoustic composition, 2 channel, 8'33"

This piece which mainly contains cello and environmental sounds reflect to the basic temporary self-substantial attitude and constant transcendent perspective. The impossibility of "at the same time" only can be in the human's mind, we just imagine the "other" place and time. Moreover our reaction-time destroy the possibility of simultaneously. It is assume the fact of separative substance of objects and organic material. The sounding approximate to silence in the middle of the piece. In the end appears the strongly fell aparts cello which makes pseudo-repeating patterns randomly. It turns our slowly "sightseeing" into a hectic day and makes an applicable contrast.

Margit híd, 2012
acousmatic music piece, 2 channel, 9'19"

In a certain distance from any kind of city, sound able to become fluid and homogeneous. Margit híd (Margaret bridge) is a two-channel, freely composed tape-music contains digital recorded sounds and computer-generated pure sine tone. In this piece I worked with sound cutting, transposing, reversing and stretching. Environmental noises are creating a musical atmosphere, which instance to the urbanisation, and at the same time refer to the title of the work. In that acousmatic music composition I used concrete and textural sounds in a wide spectrum of frequency. Despite of the manipulation the recorded sounds hold their natural character.

Csetdrén, 2012
acousmatic music piece, 2 channel, 6'57"

Csetdrén is a composition which based on sound-morphing. During the slowly cross-synthesis we can discover an imponderable timbre horizon between the human voice and the violin. Sound-levels spontaneously slides into a complex aggregation of textural and musical sounds. Basically, there is no interruption in this piece, the composition stay over still, static and horizontal as a minimalist building. There are two patterns floats on the surface of the sound and incidental repeat. Basically the piece tries to scan a wide range of timbre. I studied basic timbre-structures in short time duration and make it longer and wider in a spectral way.

Kiet, 2010
composition for piano, live recording, 5'46"

This is a recording of my first solo piano composition, inspired by Arvo Pärt's moral. Based on free improvisation, the piece has got some small mistakes which tries to equalize the whole. The small set of sound reflects on an open and wide space. Mistakes can enrich the melody and makes it unpredictable. What is the next tune? It is computable in a nostalgic way, but the mistakes always have a kind of instantaneous excitement. They break the rules and overthrow the system a little bit. Apart from that the composition have common structure. The neurobiology of a key pressing and decision probably presents the endless illusion of variability.