Tambo (2004) is a work concerned with opposition, contrast and unity, both in the physical and psychological realm. These ideas are explored using sound materials that exhibit contrasting qualities in terms of material origin, gestural input, and spectral content. A variety of sound sources have been used, but the concern lies with specific sound qualities conveyed to the listener, as opposed to a more definite sense of an identifiable source.

The aim of the piece is to explore two general sound types, (i) intense physical gestural activity of a more erratic nature, and (ii) more sustaining resonances that exist over larger time scales. In the latter stages of Tambo a dialogue is sought between these two opposing areas of attention, in an attempt to create a sense of unity where none would be expected to exist.
Contrasts in the piece are highlighted through notions of perceived material origin, spatial location, spectral content, gestural input, and pitch emphasis of the sound materials and their transformations. These are used to further articulate the different sections during the progression of the piece.
The structure of Tambo could be seen to follow the explorations of two contrasting sound worlds that eventually meet. The final section sees ideas taken from the two sound world explorations return, but in new and combined ways, creating a sense of unity amongst these supposedly disparate elements.