To be totally honest here, since I don't have any traditional education in music I only tangentially understand the way you use the words from context and what I know about music, so I can't offer a lot of insight outside of what emotion it evokes or how I would approach it from an engineering/production/performer side. I tend to think of every individual note pattern and melody that follows from it as a thread in the song, even those which form the structure of a chord, and as it happens it follows that each one must have a beginning and an end. To introduce a new thread, one must tie into the bar preceding effectively. In some situations, it would be appropriate to sound out a thread and then let it fall to rest with its chord, often using a down or up note to tie into the bar following. I suppose that in situations like this, you may find that there are significant gaps in the weave because the writer was intentionally keeping some parts separate for contrast, as it happens perhaps it was originally written for multiple instruments but has now joined and so I would assume you are hearing new potential ways to elaborate on a hidden or implied pattern. I think your sequence definitely works but I would use it apart from the original if I were to join them together in composition, perhaps after re-introducing the theme in a new echo of the first movement. Game music suffers in that it often must begin all at once, and so this track's missing the opportunity to introduce each thread with care that would make the songwriter's choices clearer and easier to follow. With a proper introduction, those gaps you're filling might have made more sense. This has been very enlightening, especially as I come from what I suppose is a strange background in regards to sound. When working with other musicians, I would often show them a basic rhythm structure and some chords that I would like them to use, and leave it intentionally incomplete or simplistic so they can use their skill and tact to build into my song. This use to work well because I wrote in a very brutalist format, treating loops and fills I'd written as blocks. I managed to make a lot of useful sounds and sequences by just writing a few base elements and then creating new sequences to compliment that base structure, and I would only be generating the blocks to build something larger later on.