100% yes, everything I've written has benefitted from my experience as an instrumentalist.
Trombone less-so than piano, but I find writing music at an instrument to be considerably quicker, more intuitive, and more organic than anything I could produce without it. Hearing physically how tones will react to each other is valuable, regardless of the eventual orchestration.
As a brass player, having an understanding of how instruments work: harmonic series, air, breathing, dynamic control, flexibility and physical limitations is helpful when it comes to orchestration.
One of my goals here is to show we have lots of compositional resources at hand. Of course, many of you know it, and use them. Sometimes I write very short pieces to "test" the effect of one or other harmonic combination. Later on, if I like the results, I take it for composing something more expressive.
In this case, I try to mix the eclesiastic modes (dorian, lydian, eolian, etc...).
When we use two modes at a time = bimodality
When we use two tonal centers at a time = bitonality
When we use two modes and two tonal centers at a time = bimodality + bitonality, which is what I did here.
The piano is perfect for this purpose: one hand one mode in a tonal center, the other hand in different ones.
Of course, every combination is different. I wouldn't say there are better ones, worse ones. Unavoidably, there are clashes here and there, but the task of a composer (even the amateur, like me) is to control them to create relax-tension.
Please, these pieces are not intended to be "beatifullly expressive". They are meant to show the effect of the combination. I wrote them in a few minutes.
Study I = D dorian + C lydian
Study II = D locrian + G mixolydian
Study III = G dorian + A eolian
I always encourage, particularly to amateur composers, to read about this stuff, to explore a little. The musical universe is endless, and it is there to expand our expressive possibilities.