I decided to write just the Marimba line first. After all, this is the most important part on this piece.
I have sketched some lines that I would like to use as soloist melodies.
The first one, is an ascending scale using the odd partials of the harmonic series in D. However, every time I repeat this scale I move the last note closer to the fundamental (image 1). This will permit that at the end of all repetitions I have a sort of cluster making the sonic result noisier. In a way, I will end it up with a transformation of a harmonic sonic result to a noise, which is one of the spectral ideas I wanted to engage.
Other line I have made, is a rhythmical pattern using the original chords. Nevertheless, changing the original position of the notes. I have tried to have big jumps between the notes and kept the fundamental always as fundamental in the low register.
For the third marimba line, I took the motif explored on the last 27 of June. I used the different transpositions of the same motif and made an ascending line with it.
At the end, I started to use fragments of each of these examples, and constructed a single line. At the beginning I started with the odd harmonic series in D ascending scale without any transformation, then I used the first two small groups of three notes of the third marimba line, then I used again the odd harmonic series in D with the 21st partial closer to the fundamental and I did not use the 13th, 15th, 17th and 19th partials. Therefore, I used some fragments of the second line, then the harmonic series with the 21st partial closer to the fundamental and with the 13th, 15th, 17th and 19th partials, then a bit more of some fragments of the third marimba line and at the end a small fragment of the second line.
At the end I played on the piano and I felt that some of these fragments were not so good as I expected but some of them convinced me so I underlined to work with them later.