@terribly-awesome-games As this was a game jam, and I was pressed for time, my workflow was pretty much just: improv on my keyboard. :sweat_smile: I noodled around a bit to come up with the main theme/motifs (first four measures), then recorded it into MIDI. After that, I basically just went measure by measure, adding the kind of motion/harmony that I thought would be appropriate by recording each measure, then making adjustments by hand if I needed to.
Occasionally, I'd have to stop and think through things like voice-leading ("Oops! That's a direct octave") or harmony ("Wait a sec, what key am I in? How the hell am I going to get back to Gmin?!"). I used a lot of suspensions/fourth-species, because they're relatively easy, sound great, and helped to 'slow down' the music after some of the very 'active' passages.
To keep the entire song familiar (and not be TOO confusing/jarring), I started off with a strong theme that I knew I could use again and again, then simply brought it back, in different keys, at different times, with different rhythms/notes. One of the ways to make interesting music seems to be balancing contrasts, and that's a lot of what I 'thought about.' E.g., I started in a minor key, so I wanted to make sure to have a strong secondary theme in major. I started in simple duple (4/4 or 2/4), then at some point moved to compound duple (6/8 or 12/8). I had sections that are slow followed by sections that are fast, sections with long notes followed by sections with short notes.
I knew that I wanted to have a basic ABA' sort of structure, and I knew I could get away with having a crazy long development (B) so long as the expo+recap (A+A') was pretty solid. I started the recap off by returning to the main theme in MAJOR, which is uncommon but not unusual, then I basically just wrapped it back around to the beginning to get it feeling as seamless as possible.
A lot of the weird key changes ('modulation') that I accomplished were due to using very strong 'dominant pedals', which is basically just a V -> I/i. I used a lot of leading tones as non-chord tones (primarily neighbor tones) to set up the movement, then reinforced them through longer phrases to emphasize the pedal. Dominant sevens helped a lot too.