Layered and Interlocking Rhythm
Drums, bells, rattles, bass, guitar and vocals can perform complementary rhythmic roles rather than repeating one identical pattern.
WORLD MUSIC ATLAS · WEST AFRICA
Nigerian Music
Explore Afrobeat’s long-form funk and jazz structures, contemporary Afrobeats production, highlife guitar language, jùjú and fuji ensembles, Yoruba drum communication and Igbo and Hausa musical traditions.
NigeriaAfrobeatAfrobeatsHighlifeJùjú and Fuji
A vast musical world where language, rhythm, community, dance, narrative and modern urban culture interact with numerous regional traditions.
The Musical Identity of Nigeria
Nigerian music reflects enormous cultural, linguistic and regional diversity rather than one Afrobeat groove, talking drum or contemporary pop production style. Yoruba, Igbo, Hausa, Tiv, Edo, Ibibio, Efik, Idoma, Nupe, Kanuri and many other communities have developed distinct performance practices, rhythmic systems, languages and instrumental traditions.
Highlife, jùjú, fuji, apala, sakara, waka, Afrobeat, Afrobeats, Igbo highlife, palm-wine-related guitar traditions, gospel, Hausa praise music, theatrical performance and contemporary electronic production form different layers of Nigerian music.
Rhythm in Nigerian traditional music is not simply a repeating drum loop. Different drums, bells, rattles, handclaps, dance movements and vocal phrases can perform complementary roles. One instrument may establish a foundational pulse while another creates response, variation or changing intensity.
Yoruba pressure drums such as the dùndún or gángan can produce rhythmic and melodic phrases that follow aspects of tonal speech. A talking drum is therefore more than a sound effect or one-note percussion instrument. It is connected with language, poetry, praise, community and performance context.
In Igbo traditions, the ogene metal bell, ekwe slit drum, udu and different drum ensembles can serve distinct social, ceremonial and dance functions. Hausa and northern Nigerian traditions may use the goge or goje fiddle, kalangu-type pressure drums, kakaki trumpets and algaita in praise, court, festival and dance music.
Afrobeat and Afrobeats do not describe the same concept. Singular Afrobeat is a specific genre associated with funk, jazz, dense rhythm sections, wind arrangements, extended form and social narrative. Plural Afrobeats is a broad umbrella term for diverse Nigerian and West African popular-music production of the twenty-first century.
Afrobeats can include influences from Afro-pop, R&B, hip-hop, dancehall, highlife, amapiano, electronic dance music and local rhythmic traditions. However, not every form of contemporary African popular music should be labelled Afrobeats.
An effective AI music prompt should identify a specific Nigerian tradition, rhythmic roles, language, lead-and-chorus relationship, instrumentation, formal development and originality boundary rather than relying only on “African music,” “tribal drums” or “Afrobeat.”
Musical DNA
Language and Drum Communication
Some pressure drums can follow pitch movement in tonal languages, creating phrases with verbal associations as well as rhythmic meaning.
Lead and Community Response
Call-and-response between lead vocal, chorus, drums and wind instruments can support collective energy and formal development.
Extended Form and Groove Development
Afrobeat, jùjú and some ensemble traditions can use gradually developing extended grooves rather than short pop sections.
Guitar and Percussion Dialogue
In highlife, jùjú and contemporary pop, guitar lines can interact directly with percussion subdivisions.
Regional Identity and Modern Urban Sound
Local instruments, languages and community practices can interact with funk, jazz, pop, hip-hop, R&B and electronic production in different ways.
Major Genres and Traditions
Afrobeat
A specific genre developed in Nigeria during the 1960s and 1970s, associated with funk, jazz, highlife influences, extended grooves, strong bass, layered percussion, wind riffs and social narrative. It is not the same as the plural umbrella term Afrobeats.
Afrobeats
An umbrella term covering diverse popular-music production that developed in the twenty-first century, particularly around Nigeria, Ghana and diaspora centres. It is not one fixed rhythm or instrument set.
Highlife
A broad musical field developed across West Africa, particularly in Ghana and Nigeria, associated with guitar bands, dance orchestras, winds, vocals and community rhythms. It should not be presented as belonging exclusively to Nigeria.
Igbo Highlife
A Nigerian highlife field shaped by Igbo-language vocals, guitar lines, wind instruments, dance grooves and regional melodic approaches.
Jùjú
A genre connected with Yoruba popular-music culture that can use guitar, bass, talking drums, sekere, vocals and gradually developing ensemble arrangements.
Fuji
A genre connected with urban vocal and percussion traditions in Yoruba Muslim communities, capable of using a powerful lead singer, chorus, talking drums and intensive rhythmic development.
Apala
A tradition connected with Yoruba communities that can use voice, talking drums, agidigbo and distinct percussion roles. It should not be presented as identical to fuji.
Sakara
A historical genre within Yoruba urban and community music, connected with frame drum, vocals, praise and rhythmic narrative.
Waka
A musical field developed in connection with Yoruba women’s vocal traditions, capable of carrying chorus, rhythm and social narrative.
Palm-Wine and Guitar Traditions
A broad musical field connected with West African coastal cultures and urban social settings, combining acoustic guitar, vocals, light percussion and storytelling.
Hausa Praise and Goge Music
Can include northern Nigerian performance traditions involving goge or goje fiddle, kalangu-type pressure drums, vocals and praise poetry.
Gospel and Choral Music
A broad production field involving church choirs, local languages, call-and-response, piano, organ, drums and contemporary pop arrangements. Do not produce all Nigerian gospel with one modern worship formula.
Kwagh-Hir Theatrical Performance
A community theatre form rooted in Tiv storytelling, combining puppetry, masquerade, poetry, music, dance and animated narrative. It was inscribed on UNESCO’s Representative List in 2019.
Ijele Masquerade
A cultural performance connected with song, dance, music, ceremony and community participation in some Igbo communities of southeastern Nigeria. It was inscribed on UNESCO’s Representative List in 2009.
Contemporary Afro-Fusion and Alté
Contemporary production fields moving across Afrobeats, R&B, hip-hop, indie, electronic music, dancehall, highlife and global influences. They should not be presented as one fixed genre standard.
The Difference Between Afrobeat and Afrobeats
Afrobeat and Afrobeats should not be treated as singular and plural versions of the same term. They refer to different historical and production contexts.
Afrobeat is a specific genre developed in Nigeria during the 1960s and 1970s, connected with funk, jazz and highlife influences. It can use extended instrumental openings, locked electric bass and drum-kit interaction, repeating guitar counter-lines, layered percussion, wind riffs, call-and-response and social narrative.
Afrobeats is a broad contemporary popular-music umbrella strongly connected with production centred around Nigeria and Ghana. It can interact with Afro-pop, R&B, hip-hop, dancehall, highlife, house and other genres, using shorter forms and digital production. Not every Afrobeats track uses Afrobeat horns or extended funk grooves.
Do not apply a short Afrobeats pop form to Afrobeat, force long wind solos into Afrobeats, call all contemporary African popular music Afrobeats or reduce either term to one production preset.
Afrobeat — specific genre; Nigeria, 1960s and 1970sAfrobeat — extended grooves, bass-and-drum lock, guitars, winds and layered percussionAfrobeats — broad twenty-first-century popular-music umbrellaAfrobeats — varied tempo, groove, digital production and genre interactionNot every Afrobeats track needs a log drum, Afrobeat horn section or long funk form
Rhythm, Tonal Language and Talking Drums
Different Instruments and Contexts
The phrase talking drum does not describe one instrument or fixed rhythm. The Yoruba dùndún family, gángan and northern pressure drums such as kalangu belong to different performance contexts.
Pitch and Tonal Speech
Changing cord tension can create pitch movement, and drum phrases may follow aspects of tonal speech with rhythmic and verbal associations.
Communication
Praise, names, proverbs or performance signals may be communicated while lead and supporting drums perform distinct roles and respond to dancers.
Prompt Boundary
Do not use talking drum as a random pitch-bend effect, merge gángan, dùndún, iya ilu and kalangu or invent sacred claims. Define rhythmic and responsive roles clearly.
Highlife and Interlocking Guitar Language
Guitar Roles
Short motifs, upper-voice movement, syncopated connections, vocal responses, interlocking lines and melodic variation can be distributed across guitars.
Ensemble Roles
Bass guides dance, drums maintain a flexible groove, hand percussion supplies subdivision, winds add riffs and the chorus supports community response.
Shared West African History
Highlife is not exclusive to Nigeria; it developed through shared musical histories involving Ghana and other parts of West Africa.
Ghana’s 2025 UNESCO Inscription
UNESCO’s 2025 inscription of Highlife Music and Dance applies to Ghana’s nomination. It does not mean that Nigerian highlife itself was inscribed.
Music, Dance and Community Heritage
Sango Festival, Oyo · 2023
A festival connected with the Yoruba traditional New Year, involving rites, storytelling, chanting, drumming and dancing. Sacred or restricted aspects should not become production material.
Kwagh-Hir · 2019
A Tiv theatrical performance combining storytelling, puppetry, masquerade, poetry, music, dance and social narrative.
Ijele · 2009
A cultural practice combining ceremony, song, dance and masquerade in some Igbo communities in and around Anambra.
Durbar in Kano · 2024
A cultural heritage practice involving equestrian and pedestrian processions, craftsmanship, ceremony and drumming. It is not an independent musical genre.
Traditional, Regional and Modern Instruments
Dùndún Family
A Yoruba pressure-drum ensemble whose lead and supporting drums can perform distinct roles involving rhythm, pitch movement, praise and dance communication.
Gángan
An hourglass-shaped pressure drum capable of pitch change through arm tension. It should not be used as the generic name for every talking drum.
Iya Ilu
A larger instrument carrying a directing or lead-drum role in some Yoruba drum ensembles.
Gudugudu
A small kettle-type drum capable of providing more stable rhythmic support within dùndún ensembles.
Batá
A family of double-headed drums appearing in different Yoruba sacred and secular contexts. Do not use sacred rhythms as decorative samples.
Sekere / Shekere
A beaded gourd rattle capable of providing continuous subdivision, accents and collective motion.
Agidigbo
A lamellophone with metal tongues plucked by the fingers, capable of bass, rhythm and melodic punctuation in apala and other Yoruba music.
Ogene
A family of metal bells or gongs used in different Igbo community contexts, capable of timeline patterns, calls and dance direction.
Ekwe
A slit drum used in Igbo traditions for rhythm, calls and community communication.
Udu
A clay-pot percussion instrument producing deep air tones, open strikes and finger textures.
Goge / Goje
A one-stringed bowed instrument associated especially with Hausa and northern Nigerian traditions, capable of vocal-like phrasing, dance and praise music.
Kalangu
A pressure-drum family used in northern Nigeria and surrounding regions. It should not be presented as identical to Yoruba gángan.
Kakaki
A long metal trumpet used in court, ceremonial and Durbar traditions in northern Nigeria.
Algaita
A double-reed wind instrument used in ceremonial, court and outdoor ensembles in northern Nigeria.
Kontigi
A family of small string instruments used in different folk and popular traditions of northern Nigeria.
Bamboo and Regional Flutes
Can serve dance, narrative, pastoral or ceremonial functions depending on community and region. Do not merge all Nigerian flutes into one category.
Acoustic and Electric Guitar
Can carry rhythm, countermelody, riffs and solos in highlife, jùjú, palm-wine, gospel, Afrobeat and contemporary pop.
Electric Bass
Can form the melodic and rhythmic centre of the groove in Afrobeat, highlife, jùjú, gospel and Afrobeats.
Wind Instruments
trumpettrombonetenor saxophonealto saxophonebaritone saxophoneflute
Modern Colours
drum kitelectronic drumssynthesizerelectric pianoorganclavinetacoustic pianosampled percussionelectronic bassvocal chopsambient texturesdistorted guitarbrass sectionstring ensemble
Important Boundaries
Do not make djembe the default drum for all Nigerian music.Do not make log drum mandatory in every Afrobeats track.Do not present South African amapiano instruments and grooves as uniquely Nigerian.Do not describe all West African instruments as Nigerian in origin.
Rhythm, Groove and Tempo
Classic Afrobeat
Approximately 90–125 BPM; extended groove development, locked electric bass and drum kit, interlocking guitars, separate hand-percussion roles and wind riffs without forcing a short pop form.
Contemporary Afrobeats
Approximately 88–118 BPM with wide stylistic variation, syncopated kick, percussion and vocal phrases and space in the groove. Do not add log drum or amapiano patterns automatically.
Highlife
Approximately 90–145 BPM with interlocking guitars, dance-centred bass and light but active percussion. Do not use one bright-guitar preset for every highlife track.
Jùjú
Approximately 85–135 BPM with gradual ensemble development and interaction among guitar, bass, talking drums and sekere. Extended sections need not remain at maximum density.
Fuji
Approximately perceived at 95–160 BPM, centred on voice and percussion with chorus and talking-drum responses. Intensity may increase gradually rather than remain fixed.
Apala
Approximately 75–125 BPM with interaction among voice, agidigbo and percussion. Do not turn it into fuji or a modern Afrobeats beat.
Igbo Highlife
Approximately 95–145 BPM with guitar, bass, winds and vocal response while leaving room for Igbo-language phrasing.
Hausa Goge Praise Music
Vocal and bowed phrasing may matter more than fixed BPM. Allow interaction among goge, kalangu and chorus without reducing northern Nigerian music to one 6/8 rhythm.
Yoruba Drum Ensemble
Use interlocking cycles, tonal drum phrases and responses to dance rather than a fixed 4/4 grid or excessive quantization.
Kwagh-Hir-Inspired Stage Music
Use flexible tempo following narrative, voice, rhythm and movement. Music should not be mere background, and Tiv community-specific repertoire should not be copied.
Nigerian Gospel
Approximately 65–135 BPM with chorus, organ, piano, bass, drums and local rhythmic influences rather than one American modern-worship preset.
Organic Nigerian Electronic
Approximately 105–122 BPM, preserving acoustic rhythmic roles and avoiding unrelated traditions stacked inside one drop.
Classic Afrobeat90–125 BPM
Contemporary Afrobeats88–118 BPM
Highlife90–145 BPM
Jùjú85–135 BPM
Fuji95–160 BPM
Apala75–125 BPM
Igbo highlife95–145 BPM
Hausa goge praise musicFlexible / phrase-led
Yoruba drum ensembleInterlocking cycles
Kwagh-Hir-inspired stage musicFlexible / narrative-led
Nigerian gospel65–135 BPM
Organic Nigerian electronic105–122 BPM
Vocal Style, Language and Narrative
- ✓Natural diction appropriate to the selected language
- ✓No careless mixing of Yoruba, Igbo, Hausa, Nigerian Pidgin and English
- ✓Respecting the relationship between pitch movement and meaning in tonal languages
- ✓Leaving room for talking-drum responses in Yoruba vocal music
- ✓Preserving interaction between voice and guitar in Igbo highlife
- ✓Leaving space for goge and kalangu responses in Hausa praise music
- ✓Allowing strong lead voice and community chorus in Afrobeat
- ✓Allowing shorter melodic and rhythmic vocal phrases in Afrobeats
- ✓Allowing extended vocal development and group response in jùjú and fuji
- ✓Avoiding one universal Nigerian Pidgin vocal style
- ✓No caricature of regional accents
- ✓Avoiding excessive melisma on every syllable
- ✓No unnecessary operatic vibrato
- ✓Avoiding one universally aggressive or high-energy vocal style
- ✓No imitation of an identifiable Nigerian singer
- ✓No copying of existing lyrics, praise poetry or folk texts
- ✓No invented praise text for a real chief, emir, king or community leader
- ✓No decontextualised use of sacred Yoruba, Igbo, Hausa or other community repertoire
- ✓No invented sacred calls, proverbs or ritual language
- ✓Avoiding mechanically aligned chorus layers
- ✓Preserving natural differences within group vocals
Bringing Nigerian Musical Elements into Modern Production
- 1Do not produce Afrobeat and Afrobeats with one identical preset.
- 2Do not force Afrobeat into a two-minute pop form.
- 3Do not make long funk-guitar and brass solos mandatory in Afrobeats.
- 4Do not stack electric bass and electronic sub bass without control.
- 5Separate the low frequencies of kick and traditional bass drums.
- 6Do not use talking drum as a random pitch-bend sample.
- 7Do not confuse the roles of dùndún, gángan and kalangu.
- 8Do not use batá drums as a generic percussion loop.
- 9Do not sample sacred or community-specific batá rhythms.
- 10Do not program sekere as a straight hi-hat pattern.
- 11Do not add ogene automatically to all Nigerian music.
- 12Do not flatten goge pitch movement with hard pitch correction.
- 13Do not repeat highlife guitars with one MIDI pattern throughout.
- 14Do not let two interlocking guitars mask each other in the same frequency range.
- 15Do not arrange Afrobeat guitars as rock power chords.
- 16Do not keep wind sections at maximum volume and density.
- 17Do not reduce jùjú to guitar and a talking-drum sample.
- 18Do not create fuji by adding drums to a modern Afrobeats beat.
- 19Do not present apala, sakara and fuji with one percussion structure.
- 20Do not reduce Afrobeats to a shaker, kick and log-drum preset.
- 21Do not make amapiano the default groove for contemporary Nigerian pop.
- 22Do not add djembe to every Nigerian arrangement.
- 23Do not use invented group vocals labelled African chant.
- 24Do not mechanize chorus vocals through excessive quantization and pitch correction.
- 25Do not use regional languages as meaningless phonetic syllables.
- 26Do not flatten natural percussion velocity differences.
- 27Do not fill every space in the groove with percussion.
- 28Do not apply one riser, drop and vocal-chop formula to every modern track.
- 29Do not present Nigerian music only as tropical, cheerful or party music.
- 30Do not imitate an identifiable artist, group, producer or historical recording.
- 31Create original material instead of copying commercial or traditional melodies.
- 32Do not destroy bass, percussion and vocal dynamics through excessive mastering loudness.
How to Write a Nigerian Music Prompt
Combine these layers into one clear production brief:
[Entirely original composition] + [specific Nigerian genre, community or region] + [vocal or instrumental focus] + [rhythmic structure and tempo] + [instrumental roles] + [lead and chorus relationship] + [formal and dynamic development] + [production character] + [selected language if vocals are used] + [originality and cultural boundary]
Create an entirely original Nigerian Afrobeat composition at 108 BPM with deep electric bass, tightly interlocking drum kit and hand percussion, two clean electric guitars, restrained organ, trumpet, trombone and tenor saxophone. Develop the groove gradually through a long instrumental opening, original horn responses and a strong lead-and-chorus section without imitating any existing artist, song or recording.
Ready-to-Use Original Prompts
Extended Nigerian Afrobeat
Create an entirely original Nigerian Afrobeat composition at 108 BPM with deep electric bass, tightly interlocking drum kit and hand percussion, two clean electric guitars, restrained organ, trumpet, trombone and tenor saxophone. Develop the groove through a long instrumental opening, original horn responses, a strong lead vocal and community chorus. Use completely original secular lyrics and do not imitate any existing artist, song or recording.
Contemporary Nigerian Afrobeats
Create an entirely original contemporary Nigerian Afrobeats song at 102 BPM with warm male vocal, syncopated electronic drums, subtle hand percussion, melodic bass, clean guitar phrases, soft synthesizers and concise vocal responses. Use spacious verses, a memorable original chorus and restrained production. Do not add a mandatory log-drum pattern, imitate any known singer or copy an existing song.
Yoruba Jùjú Ensemble
Create an entirely original Yoruba jùjú-inspired ensemble performance with interlocking electric guitars, melodic bass, dùndún-family drums, sekere, restrained keyboard and responsive group vocals. Build gradually from a light guitar introduction into an extended communal groove. Use newly written secular Yoruba lyrics verified for natural diction and do not reproduce existing praise poetry, melodies or performers.
Vocal and Percussion-Led Fuji
Create an entirely original fuji-inspired performance with a powerful lead vocal, responsive chorus, distinct talking-drum roles, layered hand percussion and restrained modern bass. Begin with a free vocal call, establish a clear rhythmic cycle and increase intensity gradually through vocal-and-drum dialogue. Use original secular lyrics and avoid sacred material, copied praise texts or imitation of any identifiable singer.
Igbo Highlife Dance Ensemble
Create an entirely original Igbo-highlife-inspired song at 122 BPM with natural lead vocal, responsive chorus, two interlocking electric guitars, melodic bass, drum kit, subtle ogene and a controlled trumpet and saxophone section. Use a clear original melody, lively dance groove and short instrumental variations. Do not copy any existing highlife song, language pattern or performer.
Hausa Goge and Kalangu Dialogue
Create an entirely original northern Nigerian acoustic performance featuring expressive goge, responsive kalangu-type pressure drum, light calabash percussion and warm group vocals. Use a flexible opening followed by a measured dance pulse and original secular celebratory text that does not praise any real person, ruler or institution. Avoid copying ceremonial repertoire or an identifiable performer.
Yoruba Talking-Drum Ensemble
Create an entirely original Yoruba-inspired instrumental dialogue with lead iya-ilu, supporting dùndún-family drums, gudugudu, sekere and handclaps. Use distinct rhythmic roles, natural pitch movement, dancer-responsive phrases and gradual call-and-response development. Do not imitate sacred rhythms, encode invented ritual messages or reduce the ensemble to random pitch-bent drum samples.
Organic Nigerian Electronic Fusion
Create an entirely original 116 BPM organic electronic track with controlled kick, warm sub bass, subtle talking-drum responses, sekere textures, short highlife-inspired guitar phrases and atmospheric synthesizers. Introduce one original acoustic motif before the groove and preserve human syncopation and dynamic space. No commercial EDM drop, mandatory amapiano log drum, generic African chant or borrowed Nigerian melody.
What to Avoid
- ✓Defining Nigerian music only as Afrobeat
- ✓Treating Afrobeat and Afrobeats as the same genre
- ✓Using Afrobeats as the name for all contemporary African popular music
- ✓Reducing Afrobeat to funk guitar and wind riffs
- ✓Adding log drum to every Afrobeats track
- ✓Presenting amapiano and Afrobeats as one genre
- ✓Presenting highlife as exclusively Nigerian
- ✓Attributing Ghana’s 2025 UNESCO highlife inscription to Nigeria
- ✓Presenting jùjú, fuji, apala, sakara and waka as one genre
- ✓Adding talking drum and batá to all Yoruba music
- ✓Using talking drum as a comic pitch-bend effect
- ✓Treating dùndún, gángan and kalangu as one instrument
- ✓Imitating tonal-language relationships with meaningless syllables
- ✓Using batá drums as decontextualised sacred samples
- ✓Defining all Igbo music as highlife
- ✓Adding ogene to every Nigerian groove
- ✓Presenting all northern Nigerian music as one Hausa court tradition
- ✓Presenting goge and kalangu as Yoruba instruments
- ✓Making djembe the default drum for all Nigerian music
- ✓Using generalisations such as tribal drums or African chant
- ✓Reducing all African rhythms to one 6/8 or 12/8 pattern
- ✓Presenting Nigerian music only as high-energy party music
- ✓Writing every vocal in Nigerian Pidgin
- ✓Mixing Yoruba, Igbo, Hausa and Pidgin randomly
- ✓Caricaturing regional accents
- ✓Inventing praise text for a real person, king, emir or chief
- ✓Copying sacred festival or community-specific repertoire
- ✓Presenting Sango Festival as a drumming genre
- ✓Defining Kwagh-Hir only as a music genre
- ✓Presenting Ijele as an entertainment costume or mascot
- ✓Imitating a particular Nigerian artist, group or producer
- ✓Copying recognisable commercial or traditional melodies
- ✓Presenting Lumiere as an official Nigerian cultural institution
Frequently Asked Questions
No. Afrobeat is a specific genre developed in Nigeria during the 1960s and 1970s, connected with funk, jazz and highlife. Afrobeats is a broad umbrella for diverse contemporary West African popular styles.
Related Regions and Musical Cultures
GhanaBeninCameroonNigerSenegalMaliWest AfricaAfrican DiasporaHighlife TraditionsContemporary African Popular Music
Continue Exploring Lumiere
Sources and Cultural References
- UNESCO — Nigeria Country Page
- UNESCO — Sango Festival, Oyo
- UNESCO — Kwagh-Hir Theatrical Performance
- UNESCO — Ijele Masquerade
- UNESCO — Durbar in Kano
- Federal Ministry of Art, Culture, Tourism and the Creative Economy — Music
- Smithsonian Folkways — Drums of the Yoruba of Nigeria
- Smithsonian Folkways — Yoruba Elewe: Bata Drums and Dance
- Smithsonian Folkways — Alhaji Garbo Leao and His Goge Music
- Smithsonian Folkways — Music of the Idoma of Nigeria
- Cambridge Dictionary — Afrobeat
- Cambridge Dictionary — Afrobeats
- UNESCO — Highlife Music and Dance, Ghana
AI output is a creative study aid and does not replace traditional performance, cultural knowledge or human authorship.
LUMIERE COMPOSER
Build Your Own Nigerian Music Prompt
Use World Composer, Groove Library and the Music Prompt Dictionary to refine groove, tempo, vocals, language, drums and instrumentation before creating an original track.