Practical music direction

Write prompts that describe sound

Use genre, rhythm, instruments, voice, arrangement and production to tell Suno what the listener should hear. Treat every term as musical direction, not a guaranteed command.

October 2026Suno v6 family and current creation toolsResearch verified October 7, 2026

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The mental model

Describe audible behavior

Suno interprets a prompt as a set of musical associations. A focused prompt establishes a clear identity while leaving room for performance and arrangement choices.

Genre and era

What musical language should dominate?

Art rock, 1970s progressive rock, modern alt-pop

Key and harmony

Where is tonal home and how do the chords move?

D minor, i-VI-III-VII, one chord per bar

Tempo, meter and groove

How should time feel?

92 BPM, swung pocket, 7/8 grouped 2+2+3

Instrumentation

Who is playing?

Baritone guitar, analog synth, upright bass, brushed drums

Voice and delivery

Who is singing and how?

Intimate contralto, theatrical baritone, breathy close-mic vocal

Arrangement

How should energy develop?

Sparse verse, rising pre-chorus, explosive final chorus

Production

What should the recording feel like?

Dry drums, wide guitars, tape saturation, dark room reverb

Interactive workbench

Plan the music, then copy the prompt

Build a Style prompt from independent musical choices. Nothing is sent to Suno or stored.

Ready

Primary genreKeyChord movementHarmonic rhythmTempoMeterGroupingVocalInstruments and rolesArrangementProductionEndingExclude

Style

Exclude

Prompt architecture

Give each clause one job

Six to ten meaningful clauses are a strong default. Start with identity, move through performance, then finish with recording character and the ending.

GENRE + ERA + KEY/HARMONY + TEMPO/METER/GROOVE + INSTRUMENTS + VOCAL + ARRANGEMENT + PRODUCTION + ENDING

Focused example

Avant-prog and art pop, 104 BPM with alternating 7/8 and 4/4, angular clean guitar, elastic distorted bass, dry acoustic drums, theatrical baritone shifting into whispered harmonies, sparse verses and an explosive final refrain, close-mic vocals, crisp transients, spectral reverb, hard stop.

Style

Put global musical direction here: genre, era, groove, instruments, voice, arrangement, production and ending.

Lyrics

Put singable text here. Use short lines, blank lines between sections and restrained bracketed cues.

Exclude

Name unwanted instruments or traits here instead of repeating negative instructions in the style prompt.

Minimal

Use: Discovery and broad ideation

Result: More model initiative and larger variation

Focused

Use: Most finished generations

Result: Clear identity with room for musical decisions

Dense

Use: Unusual forms or precise ensembles

Result: More control with a greater chance that details blend

Contradictory

Use: Intentional surrealism

Result: Unpredictable hybrids and unstable emphasis

Genre atlas

Choose a musical neighborhood

A genre term carries rhythm, instrumentation, harmony, vocal behavior and production history. Start with one primary genre. Add a second only when it has a clear role.

Rock, punk and metal

Progressive rock: long forms, odd meters and instrumental development
Avant-prog: dissonance, angular riffs and abrupt structural turns
Math rock: interlocking patterns, clean articulation and irregular meter
Art rock: theatrical presentation, conceptual writing and unusual colors
Grunge: raw vocals, heavy guitars and loud-soft contrast
Shoegaze: dense guitar haze, buried vocals and wide ambience
Post-punk: angular guitar, prominent bass and controlled tension
Progressive metal: complex meter, long arrangements and precise heaviness
Post-rock: patient instrumental builds, repeating guitar figures and wide crescendos
Post-hardcore: angular riffs, dynamic shifts and urgent vocals
Doom metal: slow heavy riffs, sustained low tones and spacious drum hits
Blackgaze: tremolo-picked intensity under shoegaze ambience
Pop punk: fast straight drums, bright power chords and singalong hooks
Garage rock: raw ensemble sound, compact riffs and little polish

Pop, soul and funk

Art pop: experimental arrangements with a strong vocal identity
Chamber pop: strings, woodwinds and detailed acoustic arranging
Baroque pop: ornate harmony, harpsichord or strings and stately motion
Synth-pop: synth hooks, electronic drums and concise choruses
Funk: syncopated bass, short guitar attacks and groove priority
Neo-soul: behind-the-beat pocket, rich chords and intimate vocals
Gospel: choir, call and response and rising emotional intensity
Acoustic singer-songwriter: lyric focus, fingerstyle guitar and an intimate room
Disco: four-on-the-floor kick, offbeat hats, octave bass and bright strings
Nu-disco: disco bass and rhythm guitar with modern synth polish
Contemporary R&B: elastic drums, intimate lead vocals and spacious chords
Alternative R&B: R&B vocals with sparse, atmospheric or experimental production
New jack swing: syncopated machine drums, bright keyboard stabs and R&B singing
City pop: polished pop-funk arrangement, electric piano, clean guitar and smooth bass

Electronic and club

Ambient: slow evolution, texture, spaciousness and little percussion
IDM: complex electronic rhythm, abstraction and detailed sound design
Glitch: clicks, skips, fragmentation and digital failure textures
Trip-hop: slow breakbeats, deep bass and cinematic melancholy
House: four-on-the-floor rhythm with piano or organ stabs
Drum and bass: fast breakbeats, sub-bass and kinetic momentum
Future garage: ghostly vocal chops, swung percussion and rain-soaked ambience
Industrial: metallic noise, loops and confrontational texture
Deep house: warm four-on-the-floor pulse, rounded bass and soulful chords
Tech house: dry kick, compact bass, syncopated percussion and sparse hooks
Progressive house: long builds, evolving layers and spacious melodic release
Detroit techno: machine pulse, syncopated synth bass and futuristic restraint
Minimal techno: repetition with tiny timbral and rhythmic changes
UK garage: swung two-step kicks, clipped vocal samples and sub-bass
Jungle: chopped fast breaks, rolling sub-bass and dub-informed space
Liquid drum and bass: fast breakbeats with smooth pads and melodic bass
Dubstep: half-time drums, sub-bass and sound-design-focused drops
Synthwave: retro analog synths, programmed drums and cinematic 1980s color

Hip-hop, jazz and global traditions

Boom bap: hard drums, sampled loops and a direct rap pocket
Lo-fi hip-hop: dusty samples, relaxed drums and imperfect timing
Jazz fusion: electric instruments, virtuosity and rock rhythm
Bossa nova: soft syncopation, nylon guitar and intimate voice
Afrobeat: long interlocking grooves, horns and layered percussion
Reggae: offbeat guitar, deep bass and spacious drums
Dub: echo, spring reverb, bass emphasis and studio-as-instrument
Folk: acoustic storytelling, simple arrangements and communal melody
Trap: 808 sub-bass, half-time snare and changing hi-hat subdivisions
Drill: sliding 808 bass, sparse minor motifs and off-grid kick accents
Jazz rap: rap phrasing over jazz harmony, live-sounding drums or samples
Bebop: fast swing, walking bass, ride cymbal and agile melodic lines
Modal jazz: sustained modal harmony, spacious solos and ensemble interplay
Afrobeats: contemporary West African pop rhythms, syncopated drums and melodic hooks
Amapiano: South African house-rooted groove, piano chords, shakers and log-drum bass
Highlife: bright interlocking guitars, horn lines and buoyant dance rhythms
Salsa: clave, tumbao bass, piano montuno, brass and call-and-response
Cumbia: rolling dance pulse, guiro or shaker and repeating bass figures
Dancehall: syncopated riddim, bass weight and rhythmic vocal delivery
Bluegrass: acoustic string-band drive, banjo rolls, mandolin chop and close harmony

From label to sound

Build a subgenre prompt in five moves

A style label is a starting point. Add the audible details that distinguish its branches. Afrobeat and Afrobeats, for example, are different traditions; describe the intended groove rather than treating the terms as interchangeable.

Name the branch

Try: “House” → “deep house” or “tech house”

A subgenre narrows the likely groove and arrangement.

Name the rhythmic fingerprint

Try: “tech house, dry quarter-note kick, offbeat open hat, syncopated conga ghosts”

Drum relationships make the branch audible.

Name one signature instrument

Try: “Amapiano, rounded log-drum bass and airy piano chords”

A concrete timbre prevents an overly generic result.

Name the vocal or instrumental role

Try: “jazz rap, conversational verse, wordless sung hook”

Delivery is often a major part of genre identity.

Name a section contrast

Try: “half-time verse; full four-on-the-floor chorus”

The genre can develop without turning into a list of unrelated tags.

Keys and chord progressions

Describe tonal home, movement and timing

A key names the tonal center. A progression describes how chords move around it. Roman numerals preserve the same harmonic function in any key, while exact chord names identify the pitches you want. Add harmonic rhythm so Suno also knows how quickly the chords should change.

Concept	Practical direction
Key	Names a tonal center and pitch collection, such as C major or D minor. Use an exact key when vocal range, instrument resonance or later editing matters.
Roman numerals	Describe chord function in a portable way. I-V-vi-IV works in any major key, while C-G-Am-F gives the exact pitches in C major.
Major and minor	Treat these as harmonic starting points, not fixed emotions. Tempo, register, rhythm, melody and timbre can reverse the expected mood.
Relative keys	C major and A minor share the same notes but establish different tonal homes. Name the tonic or final cadence when the center matters.
Parallel modes	C major and C minor share a tonic but change scale color. Borrowing from the parallel mode can create a clear emotional turn.
Vocal range	If a melody strains the singer, transpose the key or request a lower or higher register. The named key remains probabilistic until verified by ear or an instrument.

Progression library

State function, pitches and musical effect

These progressions are starting points. The same chords can feel different when the tonic, rhythm, voicing, melody or bass line changes.

Roman numerals	Example	Likely effect
I-V-vi-IV	C-G-Am-F in C major	Familiar pop movement with strong forward flow and a bittersweet turn.
vi-IV-I-V	Am-F-C-G in C major	The same chord family beginning on the relative minor for a more reflective loop.
I-IV-V-I	C-F-G-C in C major	Direct functional motion with a clear return to tonic.
ii7-V7-Imaj7	Dm7-G7-Cmaj7 in C major	Strong jazz resolution; extensions soften and color the cadence.
i-VI-III-VII	Am-F-C-G in A minor	A minor-centered loop with broad, cinematic momentum.
i-iv-V-i	Am-Dm-E-Am in A minor	A decisive minor cadence; the major V supplies a leading tone back to tonic.
I-flat VII-IV	C-B-flat-F in C	Open Mixolydian rock motion with less pull than a conventional dominant.
i-IV Dorian vamp	Dm-G in D Dorian	A stable modal loop whose raised sixth gives minor harmony a brighter lift.
12-bar blues	I7-I7-I7-I7, IV7-IV7-I7-I7, V7-IV7-I7-V7	A repeating functional frame that supports lyric verses, solos and call and response.

Harmonic control

Choose the lever that solves the problem

Harmonic rhythm

State how often chords change: one chord per bar, two chords per bar, or a held two-bar pedal.

Chord quality

Name triads, sevenths, suspended chords, added ninths or altered dominants when the color matters.

Voice leading

Ask for close voicings and common tones for smooth movement, or wide register jumps for drama.

Inversions

Keep a bass line moving stepwise while upper notes hold or change slowly.

Cadence

Use authentic resolution for arrival, plagal motion for a softer return, or an unresolved dominant for continuation.

Borrowed chords

Name one targeted color, such as minor iv in a major key, rather than asking for general complexity.

Secondary dominant

Briefly tonicize a destination chord, such as V of vi, to create directed tension.

Modulation

Name the source key, destination key and section where the change occurs.

When harmony misses

Make one harmonic instruction more explicit

The requested key drifts

Keep the key in Style, verify the result with an instrument, then transpose audio or use Studio MIDI Key and Scale tools when exact pitch matters.

The progression sounds generic

Add Roman numerals, exact chord qualities, harmonic rhythm and the cadence you want.

The chords are too busy

Request one chord per bar, close voicings, a pedal tone and fewer extensions.

The melody fights the chords

Simplify the progression, use a repeated motif and keep the melody near stable chord tones on strong beats.

The modulation does not land

Name the original key, target key, pivot section and a clear dominant-to-tonic arrival.

Time signatures and beat grouping

Tell the listener where each cycle leans

The fraction alone is often incomplete direction. Add the grouping, accents, subdivision, tempo and instrument that carries the pattern. “7/8 grouped 2+2+3 with bass and kick accents at each group start” gives a clearer rhythmic target than “odd meter.”

Meter palette

2/4: compact two-beat motion for marches, polkas and direct dance grooves
2/2 or cut time: fast music felt as two broad beats rather than four
3/4: three quarter-note beats with waltz or ballad motion
3/8: a short, quick triple cycle that may feel as one large beat
4/4: broad pop, rock, hip-hop and dance foundation
5/4: five quarter-note beats; state 3+2 or 2+3 to define the lean
5/8: a compact asymmetric cycle, commonly grouped 3+2 or 2+3
6/8: two large beats, each divided into three eighth notes
7/4: seven quarter-note beats with room for a broad, long pattern
7/8: an urgent asymmetric cycle; specify 2+2+3, 3+2+2 or 2+3+2
9/8: three compound beats, or an additive grouping such as 2+2+2+3
10/8: an additive cycle such as 3+3+2+2 or 2+3+2+3
11/8: a long asymmetric cycle such as 3+3+3+2 or 2+2+3+2+2
12/8: four large beats divided into triplets, useful for blues, soul and slow rock
Alternating meter: switches recurring measures, such as one bar of 4/4 followed by one bar of 3/4

Writing method

Name the grouping: Write “7/8 grouped 2+2+3, accents on each group start” instead of only “7/8.”
Separate meter from feel: A 6/8 song can feel slow and rolling or fast and driving. Add BPM, subdivision and backbeat behavior.
Describe the transition: For mixed meter, name where the change occurs: 7/8 verses, one 4/4 bar before each chorus, 4/4 chorus.
Use an audible anchor: Repeat a guitar, bass or percussion pattern that makes the grouping easy to hear.
Expect interpretation: A written meter is direction, not note-level control. Generate alternatives and verify the accents by ear.

Odd-meter drum maps

Assign accents to audible instruments

5/4 grouped 3+2

Kick on the first beat of each group, snare on beat four, closed hats marking all five quarters.

5/8 grouped 2+3

Low drum on the first eighth note, rim accent on the third, shaker carrying all five subdivisions.

7/8 grouped 2+2+3

Kick accents on 1, 3 and 5; snare or clap on the last group; hats articulate all seven eighth notes.

9/8 compound triple

Three broad beats with triplet subdivision; kick on beat one, snare on beat two, tom answer on beat three.

9/8 grouped 2+2+2+3

Four accent groups with the final three-note group acting as a pickup into the next bar.

Alternating 4/4 and 7/8

Keep one timbre constant across both bars and remove one eighth note from the end of the 7/8 bar.

Percussion control

Write the groove as relationships

Give the Style field a rhythmic fingerprint: tempo, meter and grouping, kick and snare placement, subdivisions, accent map, touch, percussion color, bass relationship, section changes and drum sound. “Punchy drums” leaves far more to chance than “dry kick on every quarter note, clap on two and four, offbeat open hat, short bass notes between kicks.” Suno recommends naming beat instruments directly in concise prompts.

Dimension	What to describe	Copyable phrase
Pulse and meter	BPM plus meter, beat grouping and half-time or double-time feel	102 BPM in 7/8 grouped 2+2+3, broad half-time backbeat
Accent map	Which beats or subdivisions define the cycle	accent the first note of each 2+2+3 group
Kick placement	quarter-note drive, sparse offbeats, syncopation or beat-one weight	dry kick on every quarter note; remove it for the bridge
Snare and clap	backbeat position, layered clap, rimshot, brush or ghost notes	tight snare on beats two and four with quiet ghost notes
Hats and cymbals	closed eighths, open offbeats, 16th rolls, ride or crash	short closed hats with occasional triplet rolls
Percussion color	shaker, tambourine, conga, bongo, clave, guiro, woodblock or metal	shaker sixteenths and low conga answers between snares
Subdivision and swing	straight eighths, swung sixteenths, triplets, dotted rhythms	slightly swung sixteenths, straight kick pulse
Microtiming and touch	ahead or behind the beat; loose human or quantized; soft or hard	snare a little behind the beat, gentle brush attacks
Velocity and ghost notes	The contrast between primary hits and quiet connective notes	firm backbeat with low-velocity snare ghosts between accents
Interlocking roles	Separate pulse, subdivision, backbeat and color across different instruments	kick anchors the pulse, shaker carries sixteenths, congas answer the snare
Fills and transitions	tom pickup, snare roll, cymbal choke, one-bar break or silence	two-beat tom fill before the final chorus, then one beat of silence
Density over time	sparse verse, added hats in pre-chorus, full chorus or drumless bridge	verse uses kick and rim only; chorus adds open hats and claps
Drum sound and room	dry, gated, roomy, saturated, band-limited or wide	close dry kick and snare; roomy overheads only on fills
Bass relationship	bass doubles kick, answers it, or holds notes across the pulse	short bass notes answer the kick in offbeat gaps

Genre fingerprints

Choose a pattern, then customize it

These are descriptive starting points, not fixed rules for each tradition or promises of note-accurate output. Preserve the chosen style’s core pulse before changing the drum kit, bass role or arrangement.

Boom bap

88 BPM; dusty break loop; weighty kick; snare on two and four; lightly swung hats; short vinyl-room ambience

Trap

140 BPM counted in half-time; sustained 808; snare on beat three; tight hats with short 16th and triplet rolls

Drill

142 BPM; sliding 808; irregular kick accents; crisp half-time snare; skittering hats; tense empty space

Deep house

122 BPM; warm quarter-note kick; clap on two and four; offbeat open hat; restrained shaker; bass between kicks

Tech house

126 BPM; dry four-on-the-floor kick; short mono bass; syncopated conga and rim details; one-bar drum drop

UK garage

132 BPM; two-step kick pattern; swung hats; clipped snare; sub-bass answering the vocal chop

Jungle

165 BPM; chopped break with busy snare ghosts; heavy sub; ride accents; dubby delay on occasional hits

Liquid drum and bass

174 BPM; rolling break; clean snare on two and four in half-time feel; warm sub; light shakers

Afrobeat

long interlocking guitar and percussion cycles; live kick and snare; conga, bell and shaker patterns; evolving horn responses

Afrobeats

106 BPM; syncopated kick and snare; buoyant shaker and hand percussion; melodic bass with space for the vocal

Amapiano

112 BPM; soft house kick, shakers and warm piano; syncopated log-drum bass becomes the hook

Salsa

two-three son-clave feel; conga tumbao; timbales fills; piano montuno and bass tumbao; brass answers

Bossa nova

soft syncopated nylon guitar; brushed or rim-click backbeat; quiet shaker; no arena-style drum fills

Post-rock

patient floor-tom pulse; cymbal swells; sparse kick at first; full live-kit crescendo near the end

Industrial

mechanical kick and snare; metallic found hits; distorted loop; abrupt machine stops

Funk

100 BPM; tight kick and snare pocket; quiet ghost notes; closed sixteenth-note hats; bass and kick trade syncopated spaces

Reggae one-drop

72 BPM; kick and cross-stick together on beat three; sparse hats; offbeat guitar; bass holds around the drum spaces

Cumbia

steady dance pulse; repeating bass figure; guiro subdivisions; hand drum accents; short fills that preserve the cycle

Style field example

Describe the whole rhythmic arc

106 BPM contemporary Afrobeats, syncopated dry kick and rimshot, buoyant shaker sixteenths, soft conga answers, melodic bass leaving room for the lead vocal. Verse keeps kick and rim sparse; pre-chorus adds closed hats and a short tom pickup; chorus opens into handclaps and brighter cymbals; drumless bridge; final chorus returns with the full groove.

When the groove misses

Repair one drum relationship at a time

Drums sound generic

Choose one subgenre, name kick/snare placement and one identifying percussion layer.

Kick and bass blur together

Ask for a short kick and bass notes that answer between kicks; reduce sub layers.

Hats dominate

Specify sparse closed hats or shaker instead; put fast trap hat rolls in Exclude.

Fill never arrives

Put the fill in Style and a short local section cue; if it still misses, edit or replace that section.

The cue gets sung

Remove descriptive prose from Lyrics; keep only simple headers and move percussion direction to Style.

Rhythm feels too rigid

Ask for slightly behind-the-beat snare or humanized hand percussion; avoid competing precision demands.

Genre rhythm is wrong

State the subgenre plus its audible drum fingerprint instead of adding unrelated genre names.

Instrumentation and voice

Give every sound a job

Use the pattern instrument + role + articulation + processing. “Baritone guitar, foreground rhythm role, palm-muted syncopation, dry overdrive” gives more direction than “guitar.”

Strings and bass

Baritone guitar: low and muscular. Try foreground syncopated riff, palm-muted, dry overdrive.
Steel-string acoustic: bright and percussive. Try picked folk pattern, close mic.
Clean electric guitar: clear and spacious. Try interlocking arpeggios, chorus-treated chords.
Fretless bass: fluid and singing. Try melodic counterline, upper register.
Upright bass: woody and resonant. Try walking line or bowed drone.
Synth bass: deep and shapeable. Try sub pulse, resonant sequence or rubbery funk line.

Keys and synthesis

Felt piano: soft and intimate. Try minimal motif with audible key noise.
Rhodes: warm and bell-like. Try tremolo chords with jazz extensions.
Hammond organ: swirling and weighty. Try Leslie rotation and sustained swells.
Analog polysynth: warm and unstable. Try detuned pad or short brass stabs.
FM synth: glassy and precise. Try metallic bell tone or digital keys.
Mellotron: grainy and haunted. Try vintage choir or string layer.

Drums and percussion

Acoustic kit: human impact and room energy. Try dry close-mic kit or loose live pocket.
Drum machine: precise and era-specific. Try 808, 909 or Linn-style character.
Breakbeat: sampled momentum. Try chopped break or dusty loop.
Toms: physical and cinematic. Try floor-tom march or stereo fill.
Hand percussion: layered organic motion. Try congas, shaker and tambourine interplay.
Found percussion: industrial or tactile. Try metal hits, glass taps and wooden knocks.

Orchestral and unusual color

String quartet: intimate counterpoint. Try pizzicato pulse or dissonant clusters.
Muted trumpet: bright but restrained. Try short noir responses.
Bass clarinet: hollow low woodwind. Try breathy drone or staccato pulse.
Vibraphone: cool metallic sustain. Try motor tremolo and jazz chords.
Choir: human scale and grandeur. Try wordless mixed choir or low male chant.
Field recording: place and realism. Try rain, train platform, crowd or machine room.

Vocal design

Separate identity from performance

Build a voice from range, weight and texture, then describe how it performs and how close it feels to the listener.

Range and weight

soprano, contralto, tenor, baritone, light, full-bodied, youthful, mature

Texture and tone

breathy, smoky, husky, raspy, clean, nasal, reedy, velvety, whispered

Delivery and technique

croon, belt, falsetto, straight tone, spoken word, rap, chant, call and response

Ensemble role

solo lead, gang vocal, close harmony, countermelody, wordless choir, layered octaves

Recording treatment

close-mic, dry, plate reverb, slapback echo, telephone filter, double-tracked, granular

Melody and vocal writing

Write for range, breath and intelligibility

A useful vocal prompt separates the melody’s shape from the singer’s identity. Describe contour, comfortable register, phrase length, syllable density and where the performance expands. Treat pronunciation as a local problem that can be tested and replaced.

Dimension	Working method
Contour	Describe the shape: narrow stepwise verse, rising pre-chorus and wider chorus leaps.
Motif	Repeat one short pitch-and-rhythm idea, then vary its ending or register in later sections.
Tessitura	Name the comfortable working register rather than only the highest and lowest possible notes.
Range contrast	Keep the verse lower and narrower, then let the chorus climb or widen for lift.
Syllable density	Match the number of syllables to tempo and subdivision. Shorten lines when consonants bunch together.
Prosody	Place important stressed syllables on strong beats or sustained notes. Read each line aloud before generating.
Syllabic delivery	Request mostly one note per syllable for clarity, direct storytelling and faster lyrics.
Melisma	Request a few held words across several notes for soul, gospel or ornamental emphasis. Name the target words sparingly.
Breath and rests	Use short lines, punctuation and blank space to create room for breathing and instrumental answers.
Backing roles	Separate lead, harmony, response, gang vocal, ad-lib and choir responsibilities by section.
Pronunciation	Use a simple phonetic spelling for unusual names, then replace the local section if the rest works.

Copyable vocal patterns

Describe what changes between sections

Narrative verse

low-mid tessitura, mostly stepwise syllabic melody, conversational diction, short breath after each line

Chorus lift

melody rises a fourth above the verse range, longer vowels, wider intervals, stacked third harmonies on the final phrase

Call and response

lead sings one compact phrase, small backing group answers in the rhythmic gap, no overlap with the next lead line

Intimate performance

quiet close-mic contralto, narrow range, audible breaths, restrained vibrato, no choir or power belting

Theatrical climax

baritone expands from speech-like phrasing into sustained full-voice notes, ensemble answers, final word held over the tonic

Rhythm, harmony and form

Describe motion over time

Tempo gives speed, groove gives placement, and meter gives the recurring beat framework. Harmony sets color. Arrangement gives the song a destination.

Groove

Half-time: keeps the BPM but makes the backbeat feel slower and heavier
Double-time: keeps the BPM but increases perceived urgency
Swung: uses unequal subdivisions for bounce
Syncopated: places accents away from expected beats
Behind the beat: creates a relaxed, heavy or soulful pocket
Motorik: uses steady forward repetition for hypnotic motion
Stop-start: alternates bursts with silence or held space
Polyrhythmic: layers contrasting rhythmic cycles

Meter

The dedicated time-signature section covers simple, compound, additive and alternating meters with accent maps.

Explore time signatures and beat grouping

Harmony

Major key: brightness, openness or directness
Natural minor: darkness with stable tonal gravity
Dorian mode: minor color with a brighter sixth
Mixolydian mode: major color with a lowered seventh
Modal interchange: borrowed chords that shift emotional color
Pedal tone: one sustained pitch beneath changing harmony
Chromatic mediants: dramatic chord movement by thirds
Quartal harmony: open stacked-fourth color

Explore keys and chord progressions

Melody

Stepwise: smooth, singable motion
Angular: wide or unexpected leaps
Ostinato: a repeating motif that anchors the track
Sequence: a motif repeated at new pitch levels
Call and response: one phrase answered by another voice or instrument
Through-composed: continuous development with little exact repetition

Verse to chorus lift

thin verse, rising pre-chorus, full-band chorus

Three-stage crescendo

small opening, broader middle, reserved final peak

Dropout

remove drums or bass before a return

False ending

stop convincingly, then return for a short final statement

Progressive transformation

let one genre gradually become another

Instrumental coda

finish with a defined non-vocal passage

Arrangement blueprints

Plan section length and energy before adding detail

Bar counts are flexible planning units, not mandatory commands. Use them to make section proportions and contrast explicit, then adjust by ear.

Focused pop song

Map: 4-bar intro → 8-bar verse → 4-bar pre-chorus → 8-bar chorus → 8-bar verse → 4-bar pre-chorus → 8-bar chorus → 8-bar bridge → double chorus → 4-bar outro

Energy: Start at 2/5, rise to 4/5 in the first chorus, drop to 2/5 for the bridge opening and finish at 5/5.

Prompt: compact pop form, eight-bar verses, rising four-bar pre-chorus, full eight-bar chorus, contrasting bridge, double final chorus, short outro

Progressive mixed-meter song

Map: 8-bar 7/8 motif → 12-bar verse alternating 7/8 and 4/4 → 8-bar 4/4 refrain → instrumental development → 5/4 bridge → final 4/4 refrain

Energy: Preserve one motif across meter changes and reserve the broadest meter for release.

Prompt: progressive form built from one recurring motif, 7/8 grouped 2+2+3 in verses, broad 4/4 refrain, 5/4 developmental bridge, final thematic return

Story-driven folk song

Map: 2-bar pickup → three 12-bar narrative verses with a 4-bar refrain → 8-bar instrumental turn → final shortened verse → refrain

Energy: Keep arrangement changes small so lyric development remains central.

Prompt: strophic folk narrative, recurring four-bar refrain, new instrumental answer after each verse, restrained final verse, communal last refrain

Dance build and drop

Map: 16-bar intro → 16-bar groove → 8-bar build → 16-bar drop → 8-bar breakdown → 8-bar build → 32-bar final drop → DJ-friendly outro

Energy: Remove bass in the build, restore kick and bass together at the drop, then add one new hook in the final drop.

Prompt: club arrangement with DJ-friendly intro, gradual percussion layers, bassless build, clean sixteen-bar drop, spacious breakdown, extended final drop and beat-only outro

Through-composed art song

Map: A → B → C → transformed A → D → short coda, with no exact chorus repetition

Energy: Use recurring harmony, motif or timbre to maintain identity without a repeated chorus.

Prompt: through-composed art song, continuously developing sections, recurring three-note motif, transformed opening harmony near the end, concise unresolved coda

Concept-album opener

Map: Atmospheric prologue → primary song → brief statement of a recurring album motif → unresolved transition

Energy: Introduce the project’s sound world without delivering its largest climax.

Prompt: concept-album opener, atmospheric prologue, central vocal song, brief recurring album motif in the final minute, unresolved transition into the next track

Concept-album finale

Map: Return of opening motif → new final verse → themes from earlier tracks overlap → final cadence or deliberate unresolved exit

Energy: Use recognition and recombination rather than adding unrelated material.

Prompt: concept-album finale, opening motif returns in a new key, earlier themes combine, final verse resolves the central question, extended ensemble coda and definitive last chord

Production and mix

Place the recording in a physical space

Choose a few compatible traits. Distance, width, frequency balance, dynamics, clarity, surface and room size are all audible directions.

Distance

close-mic, intimate, room-mic, distant, cavernous, behind the band

Width

mono, narrow, center-focused, wide stereo, hard-panned, immersive

Frequency

dark, warm, mid-forward, bright, airy, bass-heavy, band-limited

Dynamics

uncompressed, dynamic, gently compressed, punchy, dense, limited, pumping

Clarity

transparent, separated, crisp, detailed, hazy, blurred, muddy, abrasive

Surface

clean, polished, dusty, saturated, distorted, cracked, corroded, glossy

Space

dry, small room, chamber, hall, cathedral, plate, spring, infinite reverb

Era

1950s mono, 1960s psychedelic, 1970s analog, 1980s glossy, 1990s alternative, modern

Lyrics and sections

Format for breath and structure

Use one lyric phrase per line.
Keep verses in consistent blocks and leave a blank line between sections.
Repeat the chorus text when exact recurrence matters.
Use parentheses for likely backing responses, but expect some variation.
Spell unusual names phonetically when pronunciation matters.
Keep prose production notes out of the lyric body because they may be sung.
Use simple section labels first: [Intro], [Verse 1], [Pre-Chorus], [Chorus], [Bridge], [Outro]. Suno documents these as structure cues.
Put brief local arrangement cues in a section header only when needed; bracketed percussion cues are useful experiments, not guaranteed commands.
If a drum cue is sung aloud, move it to Style or use the editor to replace that section.

[Intro - instrumental, distant radio voice]

[Verse 1 - restrained]
The sunlight gathers on the wire
A yellow theorem catches fire

[Pre-Chorus - rising harmony]
Count the missing beat
Feel the pattern lean

[Chorus - full band]
Lemon yellow, open the sky
Seven steps forward, four passing by

[Outro - guitar feedback, hard stop]

Parentheses in lyrics

Write a vocal rhythm the model can sing

Suno does not document parentheses as exact command syntax. In published Suno songs, creators often use short parenthetical text as a practical hint for echoes, backing responses, ad-libs, wordless hooks and stuttered vocal cells. Treat the result as probabilistic and verify it by ear.

Use a three-layer approach: Style carries the global meter and groove, brackets mark sections or local performance changes, and parentheses hold possible vocal material. Parentheses are not a substitute for exact drum programming or MIDI.

Role	Purpose	Lyric example
Echo	Repeat a few important words after the lead line.	`I keep moving through the rain (keep moving, keep moving)`
Ad-lib	Add one short interjection in a gap around the lead.	`I will not turn around (hey!)`
Wordless hook	Write a compact, repeatable vowel or syllable pattern.	`(oh-oh, oh-oh-oh)`
Rhythmic ostinato	Repeat the same vocal cell to establish a recognizable pulse.	`(TA-ta-ta, TA-ta-ta, TA-ta)`
Stutter pickup	Use a repeated opening syllable to push into the next lyric.	`(go-go-go) I will not wait`

Show the grouping in the spelling

These marks suggest how syllables relate to each other. They do not force exact note values, rests or accents.

Device	Use	Example
Hyphens	Bind syllables into a quick cell.	`(da-da-da)`
Spaces and commas	Separate larger pulse groups so the intended grouping is visible.	`(HEY-ah, HEY-ah, HEY-ah-ah)`
Repetition	Repeat the same cell in the same position to suggest an ostinato or recurring response.	`(keep moving, keep moving)`
Capitalization	Use capitals sparingly to suggest stress. Capital letters do not guarantee an accent.	`(HEY-ah, HEY-ah)`
Held vowels	Lengthen the written vowel when a sustained vocal sound is wanted.	`(ohhh)`

Rhythmic cells to test

Pair each lyric cell with matching meter and grouping language in Style. Generate several candidates and keep the version whose audible phrasing matches the idea.

Pattern	Parenthetical cell	What it suggests
4/4 grouped 3+3+2	`(TA-ta-ta, TA-ta-ta, TA-ta)`	Suggests eight vocal subdivisions grouped into three, three and two. State 4/4 and the 3+3+2 grouping in Style too.
6/8 grouped 3+3	`(DA-da-da, DA-da-da)`	Suggests two compound beats, each divided into three syllables.
7/8 grouped 2+2+3	`(HEY-ah, HEY-ah, HEY-ah-ah)`	Makes the two, two and three grouping visible. Put 7/8 grouped 2+2+3 in Style for the whole groove.
Straight four-pulse chant	`(HEY, HEY, HEY, HEY)`	Suggests four equal vocal attacks, but not an exact beat placement.
Triplet pickup	`(da-da-da) I will not wait`	Suggests three quick syllables leading into the main phrase.

A complete lyric-sheet experiment

Keep the parenthetical parts short enough to fit between lead phrases. If the lead voice takes over the response, add a backing-vocal role to Style and reduce the number of syllables.

Controlled workflow

Put the global tempo, meter, grouping and groove in Style.
Use brackets for the section name and a brief local performance cue.
Put only singable words or syllables inside parentheses.
Make the rhythmic grouping visible with hyphens, spaces, commas and repetition.
Test one parenthetical pattern at a time while keeping the lyrics, Style and controls otherwise fixed.
Judge the audio, not the notation. Shorten, respell or move the idea into editing tools when the result drifts.

[Verse: dry lead vocal, small backing group answers in the gaps]
I keep moving through the rain
(keep moving, keep moving)
Every footstep says my name
(oh-oh, oh-oh-oh)

[Pre-Chorus: 7/8 grouped 2+2+3]
I can feel the pattern turn
(HEY-ah, HEY-ah, HEY-ah-ah)

[Chorus: full band, wider backing vocals]
(go-go-go) I will not wait
Open every locked gate
(HEY! HEY!)

When the pattern drifts

The lead sings the response

Ask for a small backing group or call-and-response vocals in Style, then shorten the parenthetical phrase.

The response overlaps the next line

Remove syllables, add a blank line or leave a clearer gap in the lead lyric.

The grouping sounds wrong

Respell the cell into visible groups and restate the meter and grouping in Style.

The cue is ignored

Repeat the pattern consistently, regenerate a controlled variation or edit the section after generation.

The syllables sound like unwanted percussion

Use vocalized drum syllables only when vocal percussion is intentional. Describe instrumental drums in Style.

Lyrics versus Style

Place global rhythm in Style and local changes in Lyrics

Suno documents basic structure labels such as [Verse], [Chorus] and [Bridge]. The longer bracketed drum cues below are practical experiments, not a published syntax with guaranteed execution. Keep them short, listen for the intended change, and move unreliable cues into Style or the Song Editor.

Notation	Status	How to use it
`[Verse 1] / [Chorus] / [Bridge]`	Documented section markers	Give the lyric a clear form; repeat chorus words when you need them repeated.
`[Verse 2: kick and rim only]`	Experimental local arrangement cue	Describes a thinner verse. If ignored, move the drum contrast into Style.
`[Pre-Chorus: add closed hats]`	Experimental build cue	Names one audible change rather than an entire production paragraph.
`[Instrumental Break: drums and bass]`	Experimental instrumental cue	Leave no singable prose under it; verify that the break actually appears.
`[Final Chorus: full kit, open hats]`	Experimental return cue	Pair with repeated chorus lyrics and a Style instruction for the larger arc.
`(call-and-response ad-lib)`	Possible backing-vocal hint	Parentheses may become backing words or be interpreted differently. Listen and revise.
`boom / tss / ka in a lyric line`	Singable onomatopoeia	Use only when you want a voice to say it; describe drum timbre in Style instead.

A full lyric-sheet experiment

Pair this with the Style example in the percussion section. The plain lyric lines remain singable; bracketed cues signal the intended local drum changes. If the model sings a cue, simplify the header and put that instruction in Style.

[Intro: instrumental, filtered kick and shaker]

[Verse 1: kick and rim only]
The streetlights draw a silver line
I count the turns and take my time

[Pre-Chorus: add closed hats, two-beat tom fill]
One small spark becomes a sound
The whole room lifts above the ground

[Chorus: full kit, open hats and claps]
We find the rhythm, we find the way
Bring every color into day

[Bridge: drums drop out]
Hold the silence, let it breathe

[Final Chorus: drums return, wider cymbals]
We find the rhythm, we find the way
Bring every color into day

[Outro: kick stops, shaker fades]

References and hybrid genres

Translate influence into audible traits

Use artist names for private listening analysis, then rewrite the reference as genre, era, rhythm, harmony, instruments, voice, arrangement and production. Describe the musical behavior instead of asking for direct imitation.

Dimension	Question	Example answer
Genre	What two genre families dominate?	theatrical art rock and progressive pop
Era	Which production period is audible?	late-1970s analog studio sound
Rhythm	What makes the groove distinctive?	piano-led 6/8 with a straight 4/4 release
Harmony	What is the harmonic color?	chromatic minor verses and a bright major chorus
Instruments	Which three sounds identify it?	grand piano, layered electric guitar and massed choir
Voice	What are its range, texture and delivery?	expressive baritone with conversational verses and a soaring belt
Arrangement	How does energy move?	small opening, accelerating middle and operatic final climax
Production	How close, wide, bright or distorted?	close vocal, wide guitars and warm tape saturation

Give each genre a separate role

A clear hybrid assigns structure, timbre, rhythm, voice or production to each influence.

Foundation plus color

One genre controls structure while another controls timbre

Example: prog-rock form with grunge guitar texture

Verse versus chorus

Place styles in separate sections

Example: trip-hop verse into post-hardcore chorus

Acoustic versus electronic

Use instrument families for contrast

Example: folk melody over glitch percussion

Historical collision

Combine one era of writing with another era of production

Example: 1960s soul song with modern sub-bass and vocal editing

Rhythm transplant

Borrow a groove without borrowing the whole genre

Example: art pop over a motorik beat

Vocal transplant

Place one delivery inside another arrangement

Example: crooning baritone over industrial techno

Progressive transformation

Let the song gradually become another genre

Example: chamber pop evolving into doom metal

Shared trait bridge

Connect genres through one common feature

Example: funk and math rock linked by syncopation

Exclude field

Remove defaults directly

Organic rock

trap hi-hats, 808 bass, synthetic risers, hard-tuned vocals

Dry intimate recording

cathedral reverb, reverb wash, huge choir, cinematic percussion

No generic climax

key-change final chorus, trailer drums, massed strings

Clean electronic detail

muddy low mids, harsh high end, distorted master, excessive sidechain pumping

Instrumental focus

lead vocals, spoken word, choir, vocal chops

Natural vocal

hard tuning, vocoder, formant shifting, excessive vocal layering

Avoid guitar-rock defaults

power chords, guitar solo, arena drums

Avoid pop defaults

four-on-the-floor beat, bright synth hook, repeated post-chorus chant

Advanced controls

Choose the smallest useful intervention

Lock the parts that already work. Use a targeted control when the problem is local.

v6

Finished work and controlled interpretation

Use a focused prompt, deliberate iteration and stronger style influence when needed.

v6-wild

Unexpected arrangements and experimental discovery

Use a simpler prompt, tolerate reinterpretation and keep the useful surprises.

v6-mini

Fast sketches and broad exploration

Test concepts quickly, then rebuild the promising direction with a production model.

Control	What it changes	Working method
Weirdness	Moves from conventional choices toward unusual timbres, transitions and forms.	Start near normal. Raise it after the song identity is stable.
Style Influence	Changes how closely the result follows the Style field.	Raise it when the genre or ensemble keeps drifting.
Audio Influence	Changes how closely a generation follows uploaded audio.	Raise it when the melody, voice or groove must remain recognizable.
Variety	Introduces variation by adjusting the style prompt in v6.	Set it to 0 while testing exact style tags; increase it when you want fresh interpretations.
Max Mode	Spends more credits on demanding v6 generations.	Try it for longer songs, style transfer or keeping a complex arrangement consistent.
Cover	Changes style while trying to retain the melody of a song you created.	Use it for a substantial rearrangement of owned material.
Inspire	Draws mood, tempo and instrumentation from a playlist.	Use a small, coherent group of songs for stronger project identity.
Extend	Continues from a chosen point with new lyrics or style.	Use it to repair an ending or develop a promising section.
Replace Section	Regenerates one selected part of a song.	Use it when the larger song works but one verse or transition does not.
Remaster	Refines mix, balance, texture or pronunciation.	Use it for polish, not for a new composition.

A/B testing protocol

Lock lyrics, model and sliders. Change only the Style prompt.
Generate at least two candidates for each prompt version.
Score identity, vocal fit, arrangement, diction, mix and ending separately.
Keep the winning prompt, then change only one layer in the next round.
Use Replace Section or Extend when most of the song already works.
Use Remaster for polish, not for changing the composition.

Prompt, edit or produce?

Use the smallest tool that matches the problem

A new prompt is useful when the whole musical idea is open. Local faults are usually better handled with a section edit, extension, stem, uploaded reference or MIDI correction.

Method	Use it when	Working approach
New generation	The composition, performance and production are all still open.	Rewrite the Style prompt and compare several complete candidates.
Upload Audio	You already own a melody, groove, chord loop or performance that should anchor the result.	Upload the cleanest useful excerpt and describe what should continue or change.
Cover	The melody and identity work, but the style or arrangement should change.	Name the new ensemble, groove, vocal treatment and section arc.
Extend	Most of the track works, but it needs another section, transition or ending.	Choose a musically stable extension point and describe only the new destination.
Replace Section	One local lyric, performance or arrangement moment fails.	Select the smallest practical region and give a short replacement direction.
Stem separation	The composition works, but balance, processing or one instrument needs attention.	Separate only the parts needed for the next production decision.
MIDI transcription	Pitch, chord voicing, melody or rhythmic placement must become editable.	Extract or create MIDI, correct the notes and timing, then choose a sound.
Studio arrangement	The raw parts work, but the form, transitions, automation or mix needs construction.	Arrange clips, edit timing, automate levels and process individual tracks.

Control boundary

Know which instructions are exact and which require listening

Control level	Examples	Expectation
Reliable product control	Selecting a model, editing a region, moving a clip, setting a fade, changing the grid or exporting a stem.	Expect the interface action to occur, then listen for audio quality.
Strong descriptive direction	Genre, instrumentation, vocal character, section contrast, production space and ending type.	Use concise compatible terms and compare several candidates.
Useful experiment	Detailed bracketed arrangement cues, exact drum placement in prose and highly specific modulation plans.	Test by ear and keep the instruction only when it improves results.
Better handled with MIDI or uploaded audio	Exact melody, chord voicing, key, syncopation, bass line and note-level drum pattern.	Provide owned reference audio or edit notes directly when precision matters.
Must be verified by ear	Key center, meter accents, pronunciation, lyric completeness, groove feel, timing and mix balance.	Do not treat prompt text or detected metadata as proof.

Studio production

Move from generated mix to editable project

Studio 2.0 adds MIDI, detailed stem separation, effects and automation. Check timing and pitch before polishing because production cannot repair the wrong musical decision.

1. Audit

Solo critical passages, use the metronome and note timing, pitch, diction, balance and transition problems separately.

2. Separate

Create stems only when independent control is needed. Start with vocals, drums, bass and the main harmonic instrument.

3. Convert or replace

Extract MIDI for editable melody, chords or rhythm, or generate a replacement part around the retained stems.

4. Correct timing

Check every new generation against the project grid. Trim, move or replace clips that land early or late.

5. Shape tone

Use EQ, compression, saturation, delay and reverb to clarify roles rather than processing every track heavily.

6. Automate

Draw volume, pan or effect changes for section transitions, vocal focus and controlled builds.

7. Export

Export the full mix for review and multitracks or individual WAV files when continuing in another DAW.

Troubleshooting

Revise one layer at a time

Each revision should test a specific cause. Keep the model, lyrics and sliders fixed while testing a style-prompt change.

The genre sounds generic

Add a subgenre, era, groove and one signature instrument.

The prompt feels ignored

Reduce it to one dominant genre and six essential clauses.

The singer feels wrong

Add range, texture, delivery and microphone distance.

The chorus has no lift

Request a thinner verse, rising pre-chorus and full-band chorus.

The mix is muddy

Use fewer foreground parts and request clear separation with open low mids.

The lyrics are rushed

Shorten lines, add breaks, reduce tempo or split each thought.

The drum groove is vague

Describe kick and snare placement, hat subdivision, one percussion color and how bass relates to the kick.

An instruction gets sung

Move global direction to Style and keep only concise cues in brackets.

The ending is abrupt

Request a short coda, fade or hard stop. Use Extend if the song needs more room.

The result is predictable

Raise Weirdness or test the experimental model after the core identity works.

An artist name is blocked

Replace the name with genre, era, vocal, arrangement and production traits.

Generation diagnosis

Connect the audible result to one next experiment

Result	Likely cause	Next experiment
Chorus does not lift	Verse and chorus share range, density or harmony.	Thin the verse, raise chorus register, widen harmony and add one new rhythmic layer.
Requested key drifts	Text is not exact pitch control.	Verify with an instrument, transpose the clip or use MIDI Key and Scale assistance.
Odd meter sounds like 4/4	The accent grouping is not audible.	Name the grouping, group-start accents and one repeating rhythmic anchor.
Lyrics feel rushed	The syllable count exceeds the available rhythmic space.	Shorten lines, lower tempo, add rests or split the thought across two lines.
Arrangement is crowded	Too many parts occupy the foreground or same register.	Keep three defining parts, assign others to sections and separate registers.
Drums sound generic	The prompt names a kit but not its rhythmic relationships.	Describe kick, snare, subdivision, touch, percussion color and bass interaction.
Ending feels abrupt	The form lacks a planned exit or enough duration.	Request a coda, held tonic, fade or hard stop, or Extend from an earlier point.
Word is mispronounced	Spelling and surrounding phrasing leave too much ambiguity.	Try a phonetic spelling, reduce nearby syllables and replace only the affected section.

Before and after

Replace vague intention with audible behavior

Genre

Weak: “Make it alternative.”

Improved: “1990s alternative rock, quiet-loud dynamics, dry acoustic kit, melodic distorted bass, narrow verse guitars opening into a wide chorus.”

The revision names era, rhythm section, dynamics and spatial change.

Harmony

Weak: “Use interesting chords.”

Improved: “D minor, i-VI-III-VII, one chord per bar, close piano voicings, minor iv before the last chorus.”

The revision defines tonic, function, harmonic rhythm, voicing and one targeted color.

Meter

Weak: “Use an odd time signature.”

Improved: “7/8 grouped 2+2+3, kick and bass accent each group start, hats mark all seven eighth notes, 4/4 chorus.”

The revision makes the grouping audible and identifies the release section.

Vocals

Weak: “Emotional singer.”

Improved: “Mature midrange baritone, restrained conversational verse, chorus rises a fourth with longer vowels, light rasp only at the climax.”

The revision describes range, delivery, section contrast and controlled texture.

Density

Weak: “Epic cinematic song with every instrument.”

Improved: “Low piano and solo cello opening, brass enters only in the bridge, full strings and floor toms reserved for the final chorus.”

The revision assigns instruments to moments and protects the climax.

Copy-ready starting points

Prompt recipes

Use these as test cases. Change one dimension at a time so you can hear what each revision did.

Progressive grunge

Progressive alternative rock with raw grunge guitar tone, 96 BPM, mixed 7/8 and 4/4, low-tuned electric guitar, melodic bass, roomy acoustic drums, weathered baritone moving from intimate restraint to cracked full-voice choruses, long developmental bridge, clear instrument separation, warm tape saturation, final unresolved feedback sustain.

Theatrical art rock

Theatrical art rock and baroque pop, brisk 6/8, grand piano, electric guitar, chamber strings, timpani, expressive baritone, conversational verses and stacked choir refrains, abrupt scene changes, operatic final climax, 1970s analog warmth, wide stereo arrangement, decisive hard stop.

Math-rock glitch

Math rock with glitch electronica, tense 7/8 grouped 2+2+3, interlocking clean guitars, elastic bass, dry live drums, granular synth interruptions, clipped androgynous vocal, stop-start verses, brief instrumental calculations, crisp transients, stutter edits, narrow verses expanding into a wide final chorus.

Noir trip-hop

Noir trip-hop, 76 BPM, dusty breakbeat, deep sub-bass, minor-key Rhodes, muted trumpet fragments, intimate smoky contralto, restrained verse melody, cinematic bridge, vinyl crackle, tape echo, dark wide mix, long instrumental fade.

Industrial cabaret

Industrial cabaret and theatrical post-punk, 118 BPM march, metallic found percussion, distorted synth bass, detuned upright piano, nasal dramatic baritone with megaphone asides, alternating spoken verses and shouted refrains, abrupt machine stops, narrow-band radio intro, saturated mono ending.

Lo-fi folk memory

Intimate indie folk, 82 BPM with loose human timing, fingerpicked steel-string guitar, upright bass, brushed snare, distant pump organ, mature close-mic vocal, narrative strophic verses, small harmony refrain, tape hiss, narrow stereo image, audible room, gentle fade.

Dream-pop lament

Dream pop with chamber-pop detail, slow 72 BPM, chorus-treated guitars, felt piano, cello, soft electronic pulse, airy layered soprano, short breath-separated lines, gradual harmonic bloom, luminous hall reverb, soft transients, final vocals dissolving into ambience.

Funk art rock

Angular art rock over a dry syncopated funk groove, 112 BPM, clipped rhythm guitar, active melodic bass, tight acoustic drums, clavinet, occasional brass stabs, conversational male tenor, restrained verses and explosive call-and-response chorus, minimal reverb, center-focused vocal, hard stop.

Psychedelic synth-pop

Psychedelic synth-pop, 124 BPM, warm analog arpeggiators, compressed live drums, phaser guitar, rubbery synth bass, dreamy high male vocal with double-tracked chorus, colorful harmonic detours, tape echo, saturated 1970s texture with modern low-end control, extended instrumental coda.

Cinematic post-rock

Instrumental post-rock and neoclassical ambience, 68 BPM rising to double-time, delayed clean guitar, piano ostinato, string orchestra, floor toms, low brass, three-stage gradual build, enormous final crescendo, natural room depth, wide dynamics, long decaying final chord.

Hyperpop rupture

Hyperpop and digital hardcore, 155 BPM, distorted synth bass, clipped kick, metallic snare, pitched vocal fragments, bright youthful lead alternating sweetness and shouted overload, micro-sections, sudden silence, bitcrushing, formant shifts, extreme stereo edits, short clean ending after maximal climax.

Afrobeat art pop

Afrobeat-informed art pop, 108 BPM, interlocking clean guitars, layered hand percussion, agile bass, horn responses, expressive contralto, call-and-response chorus, long groove sections with evolving arrangement, dry rhythm section, bright but controlled brass, live-room energy.

Dub post-rock

Dub production applied to post-rock, 78 BPM, deep bass, sparse drums, delayed guitar harmonics, organ swells, almost wordless distant vocal, long negative spaces, spring reverb throws, tape echo feedback, gradual instrumental build, bass remains centered and clear, fade into echoes.

Jazz-metal fusion

Progressive jazz-metal fusion, 132 BPM with mixed meter, seven-string guitar alternating clean quartal chords and tight low riffs, fretless bass, acoustic drums, Rhodes, tenor saxophone, controlled gritty tenor vocal used sparingly, extended instrumental development, precise attacks, dry detailed mix.

1920s radio carnival

Dark carnival cabaret, 126 BPM two-step, detuned upright piano, tuba bass, snare rolls, clarinet flourishes, nasal theatrical baritone with rapid patter, lo-fi 1920s radio filter, shellac crackle, narrow bandwidth, light megaphone distortion, sudden full-band accents, comic false ending.

Lemon Yellow visual poem

Avant-prog, math rock, experimental art pop and glitch electronica, luminous but uncanny, alternating 7/8 verse, 5/4 bridge and resolving 4/4 refrain, angular clean guitar, elastic distorted bass, dry polyrhythmic drums, whispered equations, fragmented syllables, granular vocal edits, tape decay, spectral reverb, abrupt silence, final word yellow dissolving into guitar feedback.

Master vocabulary

Pick one or two terms from each useful family

Do not paste every term into one prompt. Use this palette to replace vague adjectives with specific performance and recording choices.

Positive mood

euphoric, radiant, playful, tender, hopeful, triumphant, buoyant, affectionate

Negative mood

melancholic, desolate, anxious, bitter, mournful, ominous, furious, defeated

Mixed mood

bittersweet, wistful, uneasy hope, comic menace, fragile confidence, ecstatic grief

Energy

restrained, simmering, driving, explosive, relentless, exhausted, weightless, ceremonial

Narrative tone

confessional, observational, surreal, satirical, devotional, confrontational, nostalgic

Scale

intimate, club-sized, live-room, cinematic, monumental, microscopic, cosmic

Attack

soft, rounded, sharp, clipped, explosive, percussive, bowed, plucked

Articulation

legato, staccato, palm-muted, tremolo-picked, fingerpicked, pizzicato, sustained

Timing

tight, loose, behind the beat, ahead of the beat, swung, quantized, rubato

Density

solo, sparse, transparent, layered, dense, maximal, wall of sound

Movement

rising, falling, pulsing, breathing, lurching, floating, accelerating, collapsing

Interaction

unison, call and response, counterpoint, interlocking, antiphonal, trading solos

Project-level prompting

Build a style bible for an EP or concept album

Consistency comes from repeating a few deliberate rules, not pasting one identical prompt into every song. Define the project’s harmonic, rhythmic, vocal and production boundaries, then give each track a separate narrative role.

Core identity

Write one sentence naming the dominant genre, era, emotional perspective and production scale.

Harmonic palette

Choose two or three home keys, recurring chord colors and rules for when modulation is allowed.

Motif

Define one melodic, rhythmic or lyrical idea that can return in altered forms.

Instrument family

Select a stable rhythm section and two signature colors; add exceptions only for narrative reasons.

Vocal identity

Keep range, texture, diction, harmony roles and microphone distance consistent across the project.

Production rules

Set shared drum space, bass weight, stereo width, saturation and ambience.

Track roles

Plan opener, statement song, contrast song, midpoint, climax and finale before making every track equally large.

Continuity log

Record the successful prompt, model, settings, key, BPM, meter and production notes for each accepted song.

Before generating

Prompt checklist

One dominant genre is obvious.
Tempo or groove is specified when rhythm matters.
Key, chord movement or harmonic rhythm is named when harmony matters.
Odd meter includes a beat grouping and audible accent pattern.
Three to five defining instruments have clear roles.
Voice includes range, texture, delivery and ensemble role.
Sections have an energy relationship, not just names.
Production directions are audible and compatible.
The ending has an intentional instruction.
Unwanted defaults are placed in Exclude.
Lyrics use short readable lines and restrained section cues.
Each test changes one variable and generates multiple candidates.

Minimal template

[primary genre] with [secondary trait], [tempo and groove], [three defining instruments], [vocal range + texture + delivery], [verse-to-chorus energy arc], [two or three production traits], [ending].

Advanced template

[genre foundation], [era or scene], [key, progression and harmonic rhythm], [BPM, meter, grouping and groove], [drum behavior], [bass behavior], [foreground instruments and articulation], [other color instruments], [vocal identity], [vocal delivery and processing], [section contrast], [melodic feature], [mix depth and width], [surface character], [ending].

Score each candidate from 1 to 5

Identity

Do the first 20 seconds establish the intended genre and era?

Groove

Does the rhythm create the intended physical feeling?

Voice

Do range, tone, diction and delivery fit the lyric?

Arrangement

Do sections contrast and build toward a clear destination?

Instrumentation

Are the defining instruments audible in their intended roles?

Lyrics

Are words complete, intelligible and naturally phrased?

Production

Are depth, width, brightness and density appropriate?

Ending

Does the song conclude intentionally?

Distinctiveness

Does the result contain a memorable musical decision?

Sources and limits

What Suno documents

These sources support the product controls, musical terminology and working methods in this guide. The detailed key, chord, meter and percussion phrases are descriptions to test by ear. Suno does not publish a deterministic command language for exact notes or drum placement.

Suno: How to Make a Song: Custom lyrics, Style direction and basic section markers.
Suno: How to Make Beats: concise beat prompts naming tempo, genre, rhythm and instruments.
Suno Music Library: Genres: examples of genre and subgenre language in published tracks.
Suno Help: Can I Use My Own Lyrics?: Custom mode lyric field.
Suno Help: Exclude: excluding unwanted elements.
Suno Help: Creative Sliders: Weirdness, Style Influence and Audio Influence.
Suno Help: Song Editor: replacing and extending sections after generation.
Suno Help: Music Glossary: keys, chord progressions, meter, groove, syncopation, cadence and other musical terms.
Published Suno song example: If I Rule the World: practical use of parenthetical echoes, responses and rhythmic syllables. This is evidence of creator practice, not product syntax documentation.
Published Suno song example: Bad: practical use of a stuttered parenthetical vocal hook. This is evidence of creator practice, not product syntax documentation.
Suno Help: Studio 1.2: time-signature grid behavior and its separation from clip generation.
Suno Help: MIDI in Studio: piano roll, Key and Scale assistance, chord modes and the arpeggiator.
Suno Help: Studio 2.0: MIDI, effects, automation, advanced stems and chat-assisted production.
Suno Help: Stem Separation: instrument and vocal separation modes for production work.
Suno Help: Exporting from Studio: full mix, selected range, multitrack, WAV and MIDI export workflows.
Suno Help: Upload Audio: extending from audio you own, including a four-bar drum loop.
Suno Help: v6 FAQ: Variety, Max Mode and model behavior.
Berklee Online: Harmonic Progressions for Songwriters: chord function, harmonic rhythm, borrowed chords and voice leading.
Berklee Online: Time and Rhythm 1: simple and compound meter, beat grouping, syncopation and polyrhythm.
Ableton Learning Music: Play with Chords: interactive key, mode and chord relationships.

Common questions

Short answers

How should a Suno style prompt be structured?

Start with one dominant genre, then add era, tempo or groove, defining instruments, vocal character, arrangement, production and an intentional ending.

Where should musical directions and lyrics go?

Put global musical direction in Style. Put singable text and restrained section cues in Lyrics. Put unwanted instruments and traits in Exclude.

How can an artist reference be made prompt-safe?

Translate the reference into audible traits such as genre, era, rhythm, instrumentation, vocal delivery, arrangement and production. Do not ask for direct imitation.

What is the best way to improve a weak generation?

Identify the failing prompt layer, change one or two clauses, generate multiple candidates and compare the same criteria each time.

How do I direct drums in Suno lyrics?

Put the overall groove and drum sound in Style. Use documented section markers in Lyrics, and test a short bracketed drum cue only for a local change. Bracketed percussion directions are suggestions, not exact sequencing commands.

What do parentheses do in Suno lyrics?

Suno does not document parentheses as exact command syntax. In practice, short singable text in parentheses can suggest an echo, backing response, ad-lib, wordless hook or rhythmic vocal cell. Spell and group the syllables visibly, then verify the result by ear.

How should I specify a key and chord progression?

Name the key, Roman-numeral progression, chord qualities and harmonic rhythm. Add exact chord names when pitch matters, then verify the result by ear because prompt details remain probabilistic.

How should I prompt an odd time signature?

Name the meter, beat grouping, accent pattern and section. For example: 7/8 grouped 2+2+3, with kick accents at each group start in the verse, resolving to 4/4 in the chorus.

What makes a subgenre prompt more specific?

Name the subgenre, its rhythmic fingerprint, a signature instrument or timbre, the vocal role and one section contrast. For example, tech house with a dry four-on-the-floor kick, mono bass, syncopated conga details and a one-bar break.

When should I stop rewriting the prompt and edit the song instead?

Edit when the song identity works and the failure is local. Use Replace Section for one passage, Extend for form or ending problems, stems for balance and processing, and MIDI or uploaded audio when notes or timing must be exact.

How can several Suno songs sound like one album?

Create a style bible covering harmonic palette, recurring motif, instrument family, vocal identity and production rules. Give each track a different narrative role while preserving a few shared decisions.