--...-- / waltz for chapter 11 of a story (or for bankrupt)

Here is a quick semi-improvised piece I made!

It is based on 2 basic ideas really, a Eb6/9 (or Eb6b9) to Db6/9 movement (with the occasional Dm/F) and a morse code idea that evolves into what resembles a 11/8 pattern (--...--/2+2+3+2+2). The idea in the very start is a Dbm to Eb#9 (omit5, sometimes with a 6 too; basically a reduced Hendrix).

The tuning is Drop-D with the E-string tuned up by around 20-25 cents. This is a technique I like to use to make things sound out of place - or to give them that slight microtonal colour.

My question would be building on this. Like many of my guitar compositions this was originally an impro session, then I recorded my attempts to redo that impro session.

TWO CENTRAL QUESTIONS.

*How much detail is too much?* (in notation)

-> As this composition is highly impro-based and there are a lot of small improvisatory moments (i.e. the percussive sounds which have a specific place in the form but not specific rhythms or techniques) and I'm wondering how much of them has to be notated. Also there are moments where I purposefully "throttle" the rhythm, like towards the end, where the rhythm fragments and by effect the pace slows down. What's the best way to both visually AND verbally (an)notate this *fragmentation*? I want to have both visual and verbal, reinforcing one another.

*What instrumentation do you see fit for this?*
 

-> I want to add other instruments - or effects too maybe - to this piece once I notate it. My mind first wonders towards R. Dyens' ideas for Libra Sonatine if I recall correctly: Originally for guitar, arranged for gtr, contrabass, fiddle and percussions. Ensemble Dre's rendition (spotify) . But I am wondering what to do. Often these first feel so... intimate for the guitar to me, but I still yearn for other instruments to join. This is a long standing block for me.

(I also want to know what you guys think of my, self-claimed to be hilarious title)

Love from Finland,

Pyry

To add a bit of nuance to the idea I had floating around when I started:

The start idea (Dbm-Eb#9) is quite dissonant and reminded me of the feeling you get when you are watching a show or reading a book and often something happens around late parts of the "middle" of the story where you sort of feel sore of something in the story. There is that unfortunate upset, the part you need to get over as the viewer, so that the ending makes sense and is satisfying in the way intended. That's what came to mind. From that it grew into a waltz and with my detuned E-string, a morsecodish pattern seemed fun. 

The way the piece evolves in my head is from this soreness, anxiety - what I imagine like one of those wounds you get for falling on asphalt or gravel, you know the ones. That soreness is distracted by this 11/8-ish thing, in a sort of bliss you get in a bad situation from small things. Everything's not alright and you know something is wrong, but your mind is preoccupied with this random thing for just a moment. The ending of the piece is abrupt, fragmented, it's like coming back to your senses, realizing the grimness of the situation.

By complete chance "chapter 11", my original name idea (based on the 11/8 and the idea of this being a chapter in a story around the late-middle) means something adjacent to this - bankruptcy! Failure and reorganizing due to such. So the name has that pun in it (I mainly associate bankruptcy with businesses).

To me improvisation and composition (and especially comprovised music which is partially what this falls into - a combination of the two) give a chance to tell about feelings, moments, memories, concepts, colours, smells etc. in a vastly abstract sense. Therefore all of this stuff is going through my mind while playing, and I think as that chapter of the book it works quite nicely :D. But feel free to disagree and give your own thoughts! 

-P