'The Magi' - New Original Music - The Last of the 4 Splinterlands Inspired 8bit (~ish) Tunes - Electronic/Instrumental + Walkthrough

in #music2 months ago

Screen Shot 2021-03-25 at 9.37.54 PM.png

This is the last of the first 4 8bit

Track 1, A Part (Amin, D5, Amaj, G)
Splinterlands inspired tunes, and is probably the least cohesive overall, though I think some parts are pretty cool. I went with 6/4 here (this was before yesterday's song actually, which was in 5), and wanted to use some weird progressions here. If you listen to the soundtracks of some old video games, there are some wild, dissonant, crazy ideas that happen, so I went for that a little bit. There are two sections, which I'll describe by the colors in Track 2, as the Track 1 has too many teal/light green/dark green/etc. We have the A part in Yellow, and B part in both Pink and Brown (there is literally no reason for the two colors, haha, I just realized I made it more confusing for myself as I was reviewing the session). I also cheated a bit here, using more than 3 instruments + drums, though it isn't particularly obvious, and doesn't feel as jam packed as the first song (Mt. Mox) that I shared. Track 1 was where I started, outlining two basic progressions; the A part plays the progression pictured to the right of this paragraph, moving from Amin, to D5, back to an A, but substituting Amaj this time, down to G.

Screen Shot 2021-03-25 at 9.39.04 PM.png

Track 8, Twinkly Pentatonic (Mostly) Line


Listen to The Magi here...


From here, we move to the B part, which is where I wanted

Track 2, Bass + Added Top Melody
to get more dissonant. Since we're essentially in Aminor, we drop down to F, then up a halfstep to F#min. This repeats 2x, but instead of dropping back to just F, its an Fmin the 2nd time (and 3rd when that happens) around. I actually like this move, and have used it in more 'normal' song ideas, moving from the bVi up a half step to a minor chord. In this case, it worked, as F#min is the relative minor of Amajor, and we had resolved to an Amaj in the A section, so it sort of is shifting between the two parallel A keys. Track 2 adds a bass line, and what was going to be a bit of a melody on top, and Track 3 just straight 1/4 note chords. Track 8 adds the twinkly pentatonic line over the A sections, after the first time around. Last up is Track 9, which adds some more chords, along with some other fill parts, mostly used when Track 8 cuts out.