Composition

My career in music began as a performer but, over the years, I became interested in how music works from a compositional level.

While pursuing my bachelor’s degree in performance, I also took classical music composition classes at the same institution.

I started by composing pieces for chamber music groups, as this allowed me to perform them and see them come to life. One of these early pieces was “Breve púlsar”, which we were able to premiere in one of the halls of the Reina Sofía Museum in Madrid.

Little by little, I continued to develop my skills in both composition and performance. I then had the opportunity to score a children’s play written by the puppet company La Tartana Teatro, titled “Jugando al sol”. This play premiered at the Real Casa de Correos in Madrid.

Although I have always been interested in traditional composition, I was also drawn to a more contemporary field: video game soundtracks, as I have always enjoyed gaming.

So, back then, I started building a portfolio and experimenting with music production to be ready whenever an opportunity in the gaming industry might arise.

That opportunity came in 2018, when Alva Majo, a well-known game designer, developed Shipped. The game required 14 minutes of music. Its composer at the time, Iván Gregorio—whom I knew because we both studied at the Elche Conservatory—called me, knowing I was interested in breaking into the industry. Before I knew it, I ended up composing the soundtrack for Shipped after Iván had to step down for personal reasons.

From that point on, since the game did well, I was able to keep working as a video game composer. Today, it has become my primary job, and I have more than 12 original soundtracks to my name.

If you are interested in this side of my work, want to learn more about the studio, or would like to request a quote for your soundtrack, feel free to visit my studio’s website, gametrack.studio, which is entirely dedicated to it.

Although my main focus is composing and producing for video games, I still compose and work for other media. In theater, I recently co-created the soundtrack for Ana Sánchez-Cano’s 2026 show, “El escondite de la abuela”.

I also arrange and compose for Ana’s personal project, where I perform as well, as mentioned on the stage page.