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Ok, I'll put in my tuppenceworth because yes, it's sometimes enlightening to learn how composers view their own music. I hope others add to it. The nearest popular label is Impressionist, when not being a hack. Not “programme music” though. I suppose by definition it’s atonal because I don’t write with key in mind though it can pass through tonal moments. I don’t use barlines in the initial stages of composing. Sometimes use coloured pastels on grey or black paper. It’s all sound organisation - sometimes with a utility purpose, sometimes for an audience whether live or public exposure as a recording. I’m not happy writing in keys unless it’s light music. Anything that makes a sound is a potential source. I rarely write for full orchestra now except to keep in practice and with the hope that the County orchestra might one day perform it. Otherwise I like ensemble writing, anything from string quartet to about 15 players. I’ve tried applying formal structures and usually fail. Tending to through-compose and working in motifs, it’s more about proportion to me. I'm hopeless at melody writing hence the few solos I've composed - at least to try. As I commented earlier, the music comes from my inner ear and the physical me is there to capture what I can of it. I suppose to those emotionally responsive it "comes from the heart" - mainly!