For the entirety of winter and spring, I actually had completely abandoned the piece as I was too focused on finishing what is now the “Micro-Symphony in Three Movements” (Op. 7) in time for the Victoria Symphony New Explorations Workshop concert on 24 March, 2019. At that point I found myself with “composer’s block” as I had exhausted my creative stamina from an overwhelming bustle of performances, examinations, and other events. From March to June, the busiest months for me, I barely felt in the mood for composing, and only produced mediocre pieces which I try not to look back at.

At the end of the school year, I had finally gotten a chance to relax and regenerate my creative stamina, however I still found myself not making any significant progress on this piece. Instead I focused my creativity on pieces such as the Fugato for Brass Quintet.

It was not until the end of September 2019 where I realized Canada Music Week was a month away after Judith asked me about my progress on this piece. After staring and metaphorically poking away at the incomplete score for hours on end, I still could not develop the piece. I only had two short completely different themes and no way to connect them. Thinking back to my many sleepless nights of watching YouTube videos, I had remembered learning about the Sonata-Allegro form, where only two short contrasting themes could be made into a full-length piece, with a few simple rules to follow.

With that on my mind, I had launched into a writing spree and finally finished this piece once and for all.

It turned out that the majority of this piece ended up being composed in the last week before its completion, after a year of stagnation. I decided to title this piece “Autumn” because significant progress was made on this piece only during the falls of 2018 and 2019.