Within the structure of the album, part a’ (the last track) plays a somewhat special role: following suit on the dub stylings of part D, it shall close the album properly – or move properly into part a, if you have the album set to “repeat all”.
I decided to work this from both sides: first, starting from the end, establishing something that would make a proper end and properly continue into part a. Then, from the other side, moving from the musical cosmos of part D (the end of which was still in question mark country) into the general region of where I expected to end up.
Part a starts with arpeggiated e-piano chords in Ab minor (mainly melodic) as the defining element, so an easy choice was to use the chord progression from a’s beginning, but make the arpeggio going downwards instead of upwards.
As I had an organ in mind for coming for the part D sound, it was an easy choice to have this final part of a’ start with this organ, and then slowly fade the e-piano in. The ending chord (rather, a fifth on Ab) ran into a delay and the large reverb already used for the e-piano in part a, but both effects were gated in the groove to allow for a proper ending. Setting the markers around the entire project and then going from the end of a’ directly into a showed that yes, it worked – and it also worked if you decided to stop after a’.
Right at the beginning, a soft B3-style organ would then mark harmonies, first based on part D’s main progression, and then slowly drift into a modulation from Dorian D to Ab minor. This would need to adapt to the ending of D later on (which, as of yet, is not really defined), but I thought about some continued melodica action here.
The Loop Closes
And with that, the loop closes – and if I don’t mind the fact that there are still gaps in some of the tracks (mainly A, B and D), I can listen to the thing from beginning to end, and then loop over to the beginning.