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.
Chinedum (“God Leads Me”) is an Afrobeat-inspired gospel composition for solo voice that integrates a solo–chorus refrain structure with a 12/8 compound metre to create a fluid, devotional sound world. Set in A-flat major and unfolding across 85 bars, the piece employs a moderate tempo and a gentle rocking rhythmic profile that reinforces its themes of divine guidance, protection, and spiritual assurance.
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.
Warigbani’s "Imumechieen Okupmugwem" is a through-composed choral work composed for four voices: Soprano, Alto, Tenor, and Bass with piano and percussive accompaniment: conga, shakers, woodblocks, frame drum, and triangle - including all the repeats and interludes, the entire work is made of eighty-three (83) bars.
I Am Not Alone is written in an a cappella style and set in two stanzas. The piece is in B‑flat major and employs a mixed metre of 3/4 and 4/4. It opens with a strong dynamic level, appropriate for its character as a confession of faith, and is marked con moto, giving it a sense of spirited movement within full harmony in 4/4
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
The piece begins with an incomplete bar (anacrusis) and delivers the theme with
violin 1; while other strings accompany in harmony in a homophonic beginning, which has the cello play some running scale-like sequence of notes.
Ekwo Hallelujah is a choral work by Nigerian composer Isong Isong Akpan, written for SATB choir with African percussion ensemble.