David's comments regarding step 4

Halfway through the project, I feel the need to summarize; to end the process of coming up with totally new chord structures and melodies, and to begin the process of really working through the material, to rearrange the previous arrangements and successively completing the composition.

A hypothesis: A musical suite with three parts.

So, what do I have?

From step 1
-----------
1. The melodion-tune where I played the outer shape of some connected squares in one of the sketches. I like the drumloops and the chimes. In fact, I like the whole tune.
2. The nyckelharpa-recording with the improvised groove-like patterns that later evolved into a more advanced tune in step 2. (Not much to do with this)
3. A mellow sax-tune with Rhodes-accompaniment, which I worked more on in step 2. I don't like the shaker, though.
4. A melodionrecording that I like a lot. Short, pulsating notes. There's nice collagematerial here, in the beginning, especially.
5. The folk-tune on nyckelharpa. Really nice as stand alone music. Perhaps it doesn't really fit into the project. I'll see how the enhanced version from step 2 sounds nowadays.
6. The Oboe-tune. I like the sound better than the music. So, definitely I'll include oboe in the final composition, but not this material.

From step 2
-----------
A. The almost(?) complete tune with the sharp originally-nyckelharpa-patterns in the beginning. The oboe-melody reflects the shape of the chair in one of the pictures, as does the string-section. Well, I like it a lot, and I can imagine playing it live on the oboe against a prerecorded background maybe. Even better, though, with live musicians.

B. Though too simplistic a Rhodes, I think it is a beautiful, melancholic melody. I think of this as the last part in the suite, with a repeat-and-fadeout-ending, everybody holding arms, leaning left and right in rythm, humming along.

C. A more definite recording of the nyckelharpa-tune. Could suit as a beginning of the first piece.

From step 3
-----------
1. Corny and wonderful. As if I'm dropped straight in the middle of a movie, not knowing where I am, to meet this blue or green alien with long, unstable limbs. The lead sound makes me think of stainless steel bars.

2. The whistlepad is strange as always, but I don't like the nyckelharpa here.

3. I love this one. The ambient sounds is a favourite, as is the shaker and the melody and the chime-bass. A perfect interlude.

So, the hypothesis is as follows:

Part 1: Nyckelharpa folk tune, reaching into something different

Part 2: Music A from step 2

Interlude: Music No. 3 from step 3

Part 3: Something ... ending with music B from step 2.

Material: Melodion from music No. 1 from step 1; melodion from music No. 4 from step 1; oboe; alien-music out of music No. 1 from step 3.

...

OK, I'm about to continue working with part 1 now (I did quite a lot the other night). I'll work on where the strings come in, and find something else than the strings. A guitar, maybe. And I need a bass.

A guitar it was, and a fretless electric bass. Sounds alright, maybe a bit too westafrican. Enough for today.

...

Yesterday, I changed the bass into an acoustic, which sounded more natural. And, instead of the kalimba, I used a vibraphone sound for the last 12 bars. So, it's not that westafrican anymore.

I'm done with part 1 for now. I need a melody (and more), which will be in the next step.

I'm turning to part 2. It already is quite complete, but I fine-tuned the synth-sound and added some more of that arpeggio so that it goes on almost to the final bar.

On to the interlude. First, I let the ambience-track begin, doubling the length of the piece. Then, I cut out a bell-chord and put it in the beginning, at a really low volume. Then, the responding sax from the end. Then, I noticed the four blows of a hammer in the background. I cut that out and used it in the latter part as a beat-indicator.

I compiled it all and sent it to Karin.