Aran Mupe is a solo voice and piano composition that integrates African tonal organisation with the rhythmic and declamatory qualities of Yorùbá vocal expression.
Adura Fun Nigeria is a Yoruba vocal-piano composition that engages music as a socio-cultural testimony and artistic critique. Set in F major and structured through a multi-sectional through-composed design, the work integrates polyphonic vocal writing with piano and optional indigenous percussion, including the Dùndún ensemble, to create a timbrally rich and culturally grounded sound world.
Aye Bajẹ Tan (“The World Decays”) is a Yoruba art-music composition for solo soprano and piano that reflects on contemporary moral decline and social disintegration. Set in B-flat major and cast in a 6/8 compound metre, the work employs a moderato tempo and monophonic vocal texture to evoke a chant-like introspection.
Ebi Npa Wa! (“We Are Hungry!”) is a contemporary Nigerian SATB choral composition that transforms the nation’s current economic hardship into a powerful musical statement. Scored for mixed choir with piano accompaniment, the work draws on Yoruba linguistic expression and communal lament traditions to articulate collective frustration, deprivation, and resilience.
Freedom Suite is an intercultural orchestral composition that unites Western symphonic instruments with African indigenous idiophones and membranophones to create a dynamic,
postcolonial sound world. Structured as a single-movement suite with clearly defined sectional contrasts, the work unfolds through additive layering, evolving textures, and rhythmic intensification.
Nne Mi (“My Mother”) is a programmatic piano composition that transforms an Efik domestic folktale into a vivid musical narrative. Centred on the curiosity of two children questioning mysterious sounds from an earthen pot, the work unfolds through contrasting textures that mirror the emotional and dramatic contours of the story.
Our God Reigns is an SATB choral composition with piano accompaniment that celebrates the sovereignty and victorious reign of God through a bright, energetic musical language. Set in D major and cast in a rounded binary form, the work unfolds in simple quadruple metre at an Allegretto tempo, creating an atmosphere of joyful proclamation suitable for both concert performance and congregational worship.
Oyoma is a contemporary piano composition that fuses atonality, pitch-cell organisation, and African rhythmic logic to create a distinctive Niger Delta sound world. Structured in an extended binary form, the work unfolds through a sequence of tightly constructed pitch cells that generate tonal ambiguity while enabling motivic transformation.
The final scene in the opera entitled “Iyunade” captures one’s offspring as the true essence of life, a common belief among individuals in Yorubaland. It was initially composed in 2016 as the final scene of the opera but was later adapted for piano accompaniment and mezzo-soprano
solo in 2018.
The composition, Gracious Lord, is written as an act of thanksgiving to God for His daily show
of mercies, forgiveness, consolation, and divine providence towards us. It is the last chorus from the operatic book titled, From Pit to Palace: Joseph's Journey