Trial and error and physical experimentation was a significant part of the process. For the floor movements, over 100 separate moves were researched, attempted, categorized by viability. The possibilities selected through this process were then further filtered based on:
1. what the ensemble believed represented the music best
2. what could be linked together to form extended movement phrases reflecting Edwards' musical "cells" in combination as well as the overall compositional architecture of the concerto
3. what was viable for the stage and space and what could still seamlessly accommodate live instrumental performance.