Harold devoted a great deal of his energies to pursuing the craft of musical composition. Under the tuition of the respected English composers - Peter Racine Fricker and Elisabeth Lutyens, Harold became seriously involved in a period when the art of musical composition was becoming less "mathematical" and more melodic in expression.
With a background in classical piano and church organ playing, Harold commenced study with Peter Racine Fricker for the period 1962 - 1966. Fricker developed a free atonal style of composition and was noted for his "rich harmonic palette and his inventive and intrinsic melodic style" (Groves). Fricker's melodic expression may have been a significant influence on Harold's style as Harold later demonstrated a very melodic and lyrical approach to composition.
All of Harold's available compositions were written after commencing private lessons with Elisabeth Lutyens in 1972. From her, he absorbed the serial technique of the 2nd Viennese School.
In a concert critique in the London Express & News 1 June 1979, the critic Marie Ambrose was very complimentary about Harold's work - stating "The spare words, each vividly evocative, seem to have attracted to themselves settings of fine suitability".