The final ingredient was an infatuation I developed for the sound of Greek bouzouki players using the traditional dance/folk style of playing. We saw and heard many of them when I was doing work in various parts of Greece during the 1990's. These guys would simply wail on their instruments, using open or bar-chord fretting to allow them to rapidly strum the bouzouki. I had always wanted to use this in a piece; I even have a few false-starts stored somewhere for compositions that were never completed in the 1990's using this technique. The "bouzoukis" and strumming in sometimes chords are all simulated, of course. I can't play like those guys! They were amazing! This is just more of my performance modeling in action.
sometimes chords is longer than many of my more recent solo compositions. I thought about cutting down on the long chord-progression trajectory that opens the piece, but the more I listened to it the more I liked the almost trance-like state that it tends to produce. Time dilation, time-floating, time stoppage, all that. Not a bad way to be at this stage of life.