Note selection has been determined by the broad western music theories surrounding major and minor musical keys. I've taken this as a starting point as the mass media still heavily implements the 'major/minor' approach in determining mood. Although in contemporary music practise this theory is often questioned, it's important to contextualise how and when these sounds are being produced.  My understanding is that the sound will be projected from the direction of the television - a vast amount of the A/V sonic content emitted from this object already adopts this language of 'major/minor'. In the examples below I am founding my practise on the idea that the listener has adopted this understanding. 

 

This approach is especially relevant in sonically escalating the focus of the reminder. On the first instance of the reminder (Level1), the harmonic content adopts a major musical scale. It also adopts repetition in order to further place emphasis on ‘this is a reminder’. Note that the positioning of each note is strongly  implying a tempo and melody. However the ‘loop point’ or ‘phrase’ has been set to contradict the tempo and rhythm. This will allow the reminder to be more distinguishable from television sounds and traditional use of music. As the reminders are repeated (due to potentially not being acknowledged), the harmonic structure of the music intensifies, by gradually incorporating more 'minor' root notes and ultimately creating a discordant effect. At this stage, I've also incorporated some very subtle post production effects to further distinguish between the reminders.  When the reminders get to 'Level 3', we again intensify the harmonic content, and introduce a stronger sense of rhythm. In this instance the rhythm is even more juxtaposed in order to establish more contrast.   

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Level 4 is the 'missed reminder' sound and it simply adopts the state of the level 1 reminder. This is so we do not over alarm the elder by continously playing dischordant musical phrases.