Film composer — Munich
I compose orchestral and electronic scores for film, television, documentary, and animation — shaped by story, character, and a background in Arabic musical tradition.
Every score starts with the story, not the sound. Orchestra, electronics, and Arabic musical thinking are the tools I use to serve it.
Showreel
Listen
Standalone pieces, without picture — including the award-winning Passacaglia.
Selected works
Short film, trailer, commercial, and orchestral work — six projects chosen to show real range, not repetition.
An original composition built around a national Iraqi song.
Filmakademie Baden-Württemberg. Original score recorded with Filmorchester Zilina, built around a central childhood theme carried through the film's turning points.
Filmakademie Baden-Württemberg. Full suite recorded with double orchestra through Filmorchester Babelsberg, composed to carry the film's tension without overplaying it.
A small flame escapes from a cinema projector and discovers a brief moment of freedom, moving playfully through the projection room until the projectionist catches it and returns it to the projector. Original score, recorded with a small band.
An orchestral theme composed to mark a graduation milestone — ceremonial in tone, built for a moment of achievement.
A colorful TV commercial for a frozen yogurt brand, built around a playful 3D visual concept and a bright, upbeat musical identity.
Services
Support for a project at any stage — composition, orchestration, mockups, sound design, and delivery-ready stems.
Collaboration process
We talk about the project, the timeline, and what the music needs to do.
We go through picture together and agree on where music enters, exits, and leads.
Early sketches and themes, so the direction is agreed before full production begins.
Full composition, orchestration, and mockups delivered against picture.
Notes, revisions, and final delivery as mix, stems, or session files — whatever the project needs.
Arabic and orchestral music identity
My doctoral research focused on harmonising Arabic music scales, including quarter-tones — work that later became the basis of my book, The Tree of Arabic Music Scales. That research shapes how I write for orchestra and electronics alike, especially on projects that call for a sound outside the standard Western scale system.
This isn't a stylistic add-on. It's a different set of tonal tools, available whenever a story calls for it.
About
Based in Munich, I write for film, television, and digital media, working across orchestral and electronic writing. I've scored short and feature films, documentaries, and experimental projects across Europe and the Middle East, and I teach film scoring and sound design at university level.
Credits and awards
2025
Passacaglia — Let's C
2017
Fantasia Arabia
Recognition
Penumbra — original score for the documentary Status: Geduldet
Start a project
Tell me about the project, the timeline, and what the music needs to do. I'll get back to you directly.