Like new(er) counterpoint, Touch has a long history. It first started as the third movement of my Romani Sketches You can read more about that before reading this. Have you read it? Cool. Anyway, I took the third movement of that piece and made the first electronic version of it in 2014. (I wrote it for an ex girlfriend, and it was called Kamipen because it was the Romani way of expressing love.) Fast forward to my first semester studying at Oklahoma City University. I needed to compose a piece for the collaboration of Project 21 and the Lacy Ann School of Dance. The composers of P21 would write music for the School of Dance performers, and we'd have a concert. The deadline was quickly approaching and I had two other pieces to write after already composing three other works earlier in the semester. I needed to write a piece quickly and effectively. I knew that I had this in the back of my head as a backup, so I decided to use it. I revamped it through use of overtone singing (courtesy of yours, truly), world percussion, and effective architecture. In addition to creating this piece for the P21 / School of Dance collaboration, it is also the material for the final movement of my First Symphony.
I have always been interested in turning orchestral and symphonic band music into electronic music, because it's fun to make new sounds and textures that have never been created. I'd like to give credit to Steven Bryant for that influence. (Thank you!)