A downloadable soundtrack

Redline's Monthly Composing Challenge #10

Title: The Ascension Path

Link:

Description:

I spend all the 15 coins :

Accordion : 2 coins
Banjo : 1 coin
Cajon and percussion : 3 coins
Double Bass : 3 coins
Synthesizer : 2 coins
Viola : 4 coins

The sound of the synth is very close to that of an accordion, to keep the song coherent while allowing it to go far into the bass and treble ranges.
The viola is played on 3 tracks: a high-pitched solo viola that makes the melody, another solo viola that doubles down an octave, and a set of violas to make the pads.
The banjo is also featured 3 times: two with clear tones far left and far right for space, and another subdued in the center for a more intimate effect.
The percussive part is played by a cajon (a first for me) accompanied by woodblocks, tambourine and shaker. I didn't use cymbals, as I didn't feel they belonged in the "generic percussion" category.
The double bass and accordion are played simply as they should be.

Redline's Monthly Composing Challenge #9

Title: Funky Pipes

Link:

Description:

The samples inspired me to make funk music. Why was that? I have no idea.

Amen Break: I used it as is (at 110 bpm) for the intro. I then chopped it to use the pieces to complete the beat. When the Amen Break returns, the order of the sample pieces is the same, but each sample is shorter to give the sound more impact. I also added two drumset on top for a wider, funkier sound.
Metal Pipe: It's all over the track. It serves as a transition between parts. There are two big impact sounds in this sample, and their spacing corresponds roughly to 110 bmp. Which was perfect for my music. I also chopped it to use as a rhythmic base in the sections where the tempo is halved (the quieter moments).
Meow Synth: Big problem, yet it worked for several days. So I decided to remake one in my own style. It's not perfect, but it does the job. I didn't use the soundfont to get a more versatile sound.

Redline's Monthly Composing Challenge #8

Title: My Odd Neighbour

Link:

Description:

The challenge was to find rhythmic patterns that didn't sound too wobbly, so as to make the listener forget that we're not in 4/4.

The first part quickly became obvious, with a false waltz in 3/4 + 4/4.

The second part was built on a pattern I'd loved from David Bennett's Frère Jacques (quarter note, quarter note, quarter note, eighth note), which I doubled to fill out the 7/4.

I wanted the last part to be more intense, and found a pattern that seemed ideal for that: round, dotted quarter, dotted quarter.

Redline's Monthly Composing Challenge #7

Title: Hexatone

Link:

Description:

I wanted to try the whole tone scale. It's a very difficult scale, so I had to add a second exotic scale: Hindu scale (dominant aeolian or myxolydian b6). The two scales are very similar and allow me to switch from one to the other quite fluidly.

The difficulty lies in the absence of simple chords in the whole tone scale. The only "normal" chord I had access to was the dominant without a fifth (tonic, major third and minor seventh).
With the very mechanical and regular aspect of this scale, I imagined a robot. And as there are 6 notes, I called it a hexatone.

Redline's Monthly Composing Challenge #6

Title: Sambatamari

Link:

Description:

I was largely inspired by the Katamari Damacy OST. I wanted to try an intro with lots of rich chords. I composed on the piano and more or less as I went along, hence the evolution of the piece. I had fun putting the motif in the melody at the start, then in the accompaniment at certain points, in the bass too for the challenge, and I end with the melody composed almost exclusively of the motif.
For the melody outside the motif, I tried to stay on the same note and avoid over-arpeggiation (which I tend to do).

For those interested, here's the technical part:
The intro starts with Gm/C A/B Fm/Bb G/A Ab7M Bb11 Dmsus7 G13. The rest is less complex, but I keep C9 as a tonic (myxolydian).

Redline's Monthly Composing Challenge #5

Title: Mountain of Despair

Link:

Description:

This is music played exclusively on the piano. There is probably an unintentional influence from the 3rd movement of Beethoven's Moonlight Sonata.

The mix is minimal: no reverb, just a compressor. I also added automation on the tempo to emulate a human feel.

Redline's Monthly Composing Challenge #4

Title: A-Maze Me

Link:

Description:

This is the first time I've tried my hand at jazz, and more specifically at Big Band. I was greatly inspired by the music "Crimson Rose and Gin Tonic" from the video game Katamari Damacy, which in turn was largely inspired by Benny Goodman's "Sing Sing Sing". In the end, it's a rip off of a rip off.

Redline's Monthly Composing Challenge #3

Title: Kibbles, Metal and Chiptune

Link:

Description:

I had no inspiration with the image.

I thought of chiptune and had fun with it.

Redline's Monthly Composing Challenge #2

Title: Protect the Black King

Link:

Description:

I was inspired by the chess piece. I wanted to incorporate as many chess figures as possible into my music.

The music kicks off with the Black King's loneliness as he realizes that the war is coming to an end. But this was without counting on the Black Knight's devotion. He sets off on his steed to turn the tide of war.

He meets the bishop hiding in the chapel. The clergyman explains to the knight that they are the last survivors of their clan. His speech is tinged with fear and despair.

The Black Knight keeps the faith and crosses the field of corpses of his former allies devoured by the Rooks.

Filled with determination, he fights and defeats the White Pawns despite their numbers. The last man standing is none other than the White King, imploring this great warrior to let him live. Mercifully, the Black Knight grants him the stalemate.. The Black Knight's exploits spread across the land and peace returned.

But only for a while...

Redline's Monthly Composing Challenge #1

Title: In Front of the Temple

Link:

Description:

I was inspired by the image for the adventure/temple/mystery aspect. For me, it takes place in a warm climate, so I used stringed instruments.

Despite the constraints, I wanted the music to be as structured as possible. So I created a theme that I used 4 times, each time with a different harmonization. To make things even more difficult, I didn't use modulation, and stayed in A minor for the whole piece.

Am Am D/A D/A Am Am Esus7 E

Am Dsus2 A A D Esus4 G Dsus2 Asus2 Asus2

Am G F G Am7 G F E E
F G Dm/F G D7 D#dim B E

Am G/A Am Gsus4/A F/D Em G/D E

Am Am Dm Am Am Am F E
F C F Am F Bb E7 E7

More information