You know … there’s an annoying part in that piece. It’s just a break in the piece where the flow suddenly changes direction, and Haendel saw fit not to telegraph that beforehand. (Of course, he could manage it without making it seems like a suddenly incongruous jump in another direction.) I need to do that here, and it’s … not easy. I may have to slip an A7 in there someplace as a kind of musical spackle, or maybe that will make it sound clumsy. I can’t figure it out yet.
And this is perhaps the best part of being a composer and arranger as opposed to a performer. I don’t have to! At least, not yet. And not before I work out the end of the piece. I can work nonlinearly, in any order I want. It’s a transition at the end of a measure, and as long as I manage everything beyond it, I can figure out how to smooth that part out afterwards, or else just leave the joint there, Craftsman style, and call it a design feature.