The recycling of pre-existing material in pianist-composer Roger Smalley’s compositional process is an important characteristic of his output. Such a broad assertion, however, encompassing a range of examples exhibiting varying degrees of re-contextualization, perhaps risks diminishing the sophistication of his compositional process. Smalley’s final work for solo piano, Morceau de Concours (2007), is a transcription of material from his Piano Concerto No. 2 (2004). This article explores both the process of this transcription and the compositional process of the piano concerto. Although Smalley’s sketches contain no explicit indication of how Morceau de Concours was constructed, through the examination of primary sources, this article illustrates that the work should be considered a concert-paraphrase, despite the directness of its transcription. Smalley’s continuing preoccupation with process rather than style will be evaluated in relation to his compositional influences and will be placed in context with other late twentieth-century piano music.