On the contrary, there is truly no such thing as an off or wrong note! Only when things are judged through the theoretical framework of ideas of "good sounding" music from over a hundred years ago are they wrong or off.

Theory is only useful for explaining things, if you're not trying to set up perfect counterpoint or a quintessentially boroque chord progression (lol) do you need to perfectly follow a scale. If you put down a note and decide it sounds good, there is absolutely 0 reason to remove it just because it doesn't fit with whatever scale you're writing in.

I think it actually sounds pretty cool. The arpeggio has a really interesting sound to it, but its not so dissonant that its jarring. To me, it seemed like more of the parts that were a little jarring were meant to be, and it captured my attention for each new part well. That gimmick would eventually get old though, so make sure to explore new ways to catch the listeners attention.

I'd also recommend you try out writing with more active voices, because it can sound a bit thin at times where I expected it to really sound heavy and mean, but that's, again, merely a recommendation.

Form might be an even bigger part of writing music than functional harmony, though, so another recommendation would be to introduce novel musical ideas throughout the piece and periodically alter them to keep things interesting. That's something I think a few of your voices could have benefited from. In general though, you did a decent job at this.

I think you have me on discord if you wanna hmu. I know a good bit of music theory as well and if you have any questions for stuff like that Id love to try to answer them