At the risk of giving A. C. Douglas the vapors, I want to talk a little bit about my working methods on the percussion concerto I'm writing for John Parks.
The piece is cast in three movements, with the second movement constituting an interruption of the first and third. I find myself approaching II very differently from I/III. II is a slow movement in which I'm "building" the percussion part as I write the band part--the solo part is growing as the piece grows. On the other hand, in I/III, which is mostly fast music of one kind or another, I find myself writing the percussion part first, and following 20 measures or so with the band, so the percussion line is like a spinal cord, holding up the whole thing.
The three movements share a common harmonic basis, which I'm not inclined to discuss at this time.
Walkin', Miles Davis All Stars
"Someone to Love", Fountains of Wayne