I need to keep that in mind for the D mixo thing. I managed to get very latched onto a particular rhythm in the left hand that does not match the far more legato left hand in the coda that I’ve got worked up. That’s got to be the function performed by the next little bit — getting into that more legato groove instead of what it’s been so far.
It’s really surprising where the music will wander off to, and it’s good to have a coda in mind, since it gives you someplace to wander off from, and then shepherd your way back to. And to do so in a way that feels natural and compelling and beautiful. I’ve always likened certain forms of writing to ballroom dancing in a minefield. How do you miss the mines and still craft a dance that looks completely natural and flowing, as if you’d have created it no differently even if the mines weren’t there? Freedom within a framework.