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On this piece I started with a rather long complex key shifting chord progression.. I created clarinet melody first. Because the chord progression was so complex, I cut and pasted two sections to repeat, to add continuity to the piece. In the repeat sections, I replayed some instruments, so you wouldn’t notice that it was a cut and paste job. I started with playing improvisations for the length of the piece. I eventually keep carving the improvisation lines into smaller sections. Replacing with other instruments and motifs. After a while I totaled removed the blocked piano chords I started with. I focused on finding interesting sounds (to me anyways), and worked out parts for them. As many keyboardists discover; when they come across an interesting patch on a synth keyboard, it inspires them to write a song using that patch. I searched thru my Kontakt and UVI libraries, found some unique sounds, and used them for individual parts. The bass part actually consists of three instruments. I found this wonderful contra Balaika library, and made it share bass duties with an electric bass, and an acoustic staccato Double Bass. Since the bulk of sounds are ‘imaginary instruments’.. I am struggle with the layout of them in the orchestral score. Melodies it seems obvious should be first, Then supporting lines, with bass and percussion parts at the bottom. To add to the confusion, I often kept the name of the patch, rather than try to categorize it to a traditional instrument name.. So to others, the terms of instruments are not very helpful I’m afraid. All the one stave instruments don’t have well defined pitch centers, many of these are more like sound design effects, rather than an instrument. (and also couldn’t fit all on page, with regular clef. Since the chord progression is constantly transposing, The Key Signature changes, but I don’t have the patience to analyze that. I wanted the chord progression to be kind of changing, striving to find something, hence changing it’s mind. At first it was just too wandering, the brain couldn’t find enough coherency in it to stay interested. So I copied a large section (rewriting individual parts, so not so noticeable), then here and there I copied/pasted a few chunks to bring it closer to (not so far out. I did make use of the same melodic curve (motif) with some climbing variations of later notes, a recognizable pattern (to give continuity,) and a sense of stability (not just mindless wandering). The last track added was the mute trumpet solo, which I am very surprised and pleased with, in one take. I did a quick edit to remove note smudges.