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This is part of a daily upload challenge I am putting myself up to for 2024. I am currently a self-taught composer of two years, starting my journey of music theory in January 2022, and I am looking to show what I've learned since then by uploading one track a day for the whole year. I originally started off pursuing this as a means to compose music for gaming projects, especially inspired off the works of indie developers such as Toby Fox or ConcernedApe, however, realistically, I am looking into pursuing it more as a hobby - perhaps looking to pursue composition in a more serious capacity in the future.

That said, I am open to critique of my work.

The DAW that I learned to compose with is LMMS, which I picked entirely because it's free. I have considered options such as FL Studio, Reaper, and GarageBand down the line, though for my purposes at the moment this works fine for what I'm doing.

My music is entirely built off soundfonts which I have shamelessly grabbed from Musical Artifacts. The primary ones I'm working with are the Pablemo 2022, Roland SC-88, and the Arachno soundfonts, which can be downloaded from their website and used in your DAW if it supports .sf2 files - to my understanding, most DAWs should support them.

So I originally had an interesting piece full of syncopation, call and response, key changes, interesting transitions and chord progressions... then my file got corrupted.

This is an attempt to try and catch that same energy from that previous file. The lost file was written in A Minor with key changes into E Phrygian, so I wanted to incorporate that with the lead instruments with an ABABC song structure. Each section also had a different set of drum beats created for it, all of them being hihat heavy.

I then wanted to incorporate harsh contrasts with the leading instruments, so after establishing some chords with a combination of a rock organ and distorted guitar, I chose an overdrive guitar to act as the main leading instrument. To create that contrasting noise, I settled upon a clarinet and an english horn to play alongside them and to help create a more distinct response to the guitar's call.

Incidentally, the guitar parts in the A sections are intended to be doing the call and response with the note structure itself. I wanted to recycle the response for the A section for the C section in the finale to break up the repeat use of the same call riffs throughout the song.