Today, I have written few ideas for the piece.
The first, came out with the first chord in D plus his transpositions in B and A. Also, with the simple rhythm pattern I though on the 11th of June.
So, it is a kind of motif plus counterpoint with the same rhythm pattern and his inversions walking around D - violin 2 - and his transpositions in B - violin 1 - and A - viola
I have played this idea on the piano and late wrote it down in Sibelius software and did not convince me, because it is not catching and it felt without purpose. So, I feel like I am walking around nothing.
Still, the construction of the intervals are not so very well done, as for example viola plus violin 1, is not working, specially on bar 6.
The second idea, came out with the same chord in D, plus only one transposition, in B. At this time, I have been using the marimba playing D3 with mallets and D4 with bow.
The marimba sonic result, does not have a long resonance, for that reason I though about the purpose of this idea. Having the marimba playing with mallets and bow, allow me to have, on the same instrument, the attach and the study state. Violin 2, viola and cello, play the resonance of that attach which works as study stage to reinforce marimba's hight D (image 2).
The third idea, came up with the same cord in D without any transposition, very simple rhythm patterns and the idea of have the 3 stages of sound together. The marimba is playing with mallets a D3 and a D4 with bow. The violin 2, start 'al niente' to be heard only as second stage of sound. The viola, have the third stage - decay - during the violins small fragment of the D chord I.
The fourth idea, it is just an improvement of idea 3, with more simple rhythm patterns and more time until the third stage of sound, which now is on the violoncello.
The fifth idea, is the most different of today. I end it up with D and his transposition in G, with a different rhythm pattern on the marimba and on the quintet a sustain chord.
This last, must be improve. Probably, more differences on the rhythm and more activity on the sustained chord.