I might need to composer a second movement.
It seems that there’re 4 people with lots of activity around one single person who is not doing much. It seems that this single person is looking to the others analysing what they do. For that reason, I might need to have a second movement where I can look to what I already have in other perspective. This is a perspective that is the opposite of the perspective I just have been showing in the first movement. It is a perspective that shows a quiet character, that shows how is looking to all the activity activity. This character is not experiencing the activity, he is just looking at it.
I might need to have a second movement where I can demonstrate that this caracter, who is looking to the others, is also important. For example, I can demonstrate that the guitar and chord 2 from my harmony are also important in this piece, which was something that 1st movement did not show much.
To do that I need to speculate more about the first movement, because all speculations I will get will allow me to write the second movement. Speculating about the first movement can give me research material to run far away from the germanic string quartet tradition, or the cliche of writing a fast, slow, fast movement. In speculating and writing two movements which are kind of the opposite of each other - other perspectives - I can come across with the translating my own music in other perspective.I can come across with composing on the top of the first movement.
If I wanted to create, at the very beginning, a structure where I decided that I will have 3 movements I would never reach to the conclusion that I could compose on the top of the first movement.