To Julian Lage, on the release day of his Collings OM1 signature model Lagrimas (For Solo Guitar) (il germe) 1=.60 senza espressione — Sey aS ou ar — i Lor ° cr r tr a +l ba f 1 rig ° twee ee es Mit ee ete MRR Fer po “Ainge need25, Pagan enna nn To snl on — eye Rae be Ee a bebe wie te oN Ler om a tempo (qua eubato) 96, a +e b oe te is f BL r overt Of. s @ be + a tempo tn sheet eeteetlos 3 5 6 ins — z z oi ot a —= J=65 poco € poco pi veloce-— wa 109 g ———=———! —— ¥ Py raet J=00 1s f2mP poco poo senza espresione SaAppendix Analytical Notes by the Composer Almost all of the material in this piece is derived from the primary and secondary themes presented in the “il germe" introduction. The scale used for the primary theme is E> Lydian »7: 1 E> Lydian 67 @ b a = = be = ¥ w Primary Theme (PT) \ =. BS pe 2b sh ‘ oN , ‘The secondary theme (ST) is derived entirely from the primary theme in that the ST is a melodie retrograde of the PT. ZO i Secondary Theme (ST) NN ie Bl 7 be eS Soe oe x B Furthermore, the rhythmic values Lydian 67 and C Lydian 97 scales results in a series of harmonic minor thirds: B Lydian 57 C Lydian 57 Stacked (all minor thirds) _ boeee ae ewe ig pss te Combining all of the notes in these two scales results in the 10-note scale later seen in the cadenza section. In the meantime, the the accompaniment is built from minor-third and perfect-fourth chords, shifted around chromatically movement to be drawn upon later. ‘The opening melody (measures 7-25) unfolds with the gradual and fragmented presentation of the primary theme, inspired by a technique Igor Stravinsky used in his “Russian” period, in works like “L’Histoire du Soldat” (“The Soldier's Tale") and “Renard."This fragmented unfolding can be illustrated by applying the technique to a sentence from the Dylan Thomas poem “Do not go gentle into that good night”: Do not... Do not... Do not go... Do not... Do not go gentle... Do not go gentle... Do not... Do not. Do not go gentle into that good night... Do not go gentle into that good night. The piu ‘nto section presents the primary theme in a higher register with single-line stepwise accompaniment that outlines a diminished scale, followed by three one-measure patterns that capture a Lydian sound while incorporating cells of the PT. There is another PT statement with a similar single-line accompaniment that advances into descending chromatic passage. giving Way to a five-measure, diminished half-cadence chord sequence, The following 24 measures ebb and flow with a series a similar Lydian chord patterns that further incorporate PT cell materials. This builds up to another chromatically descending passage, again giving way toa five-measure half cadence. The rubato section makes the beginning of the secondary theme development. Four motivic cells have been extracted: Full and partial cells are employed below: 4=60 rubato teIn the cadenza, the two stacked Lydian 57 scales have been transposed up a perfect fifth (dominant), a 10-note scale extracted from their combined pitches (G Lydian >7 and B> Lydian 57) 10-Note Seale 2 Tipieipte rtf ripe a ® e4| ‘Two five-note phrases are derived from the 10-note scale by spelling up the scale in thirds, asin the above example (Phrases A and B). The first 12 measures of the cadenza alternate between a short melody that outlines minor thirds and the two five-note phrases. These phrases function to move the three-bar sequences up an octave each time, creating a building effect: ‘Melody Outlining Minor Thirds Five-Note Phrases Into Next Octave = a Shee oa ] Al | A ! 4 ( ti, en « G er This steady climbing continues until it peaks on a syncopated rhythm on the high F and C. It then quickly scatters into a chromatic flourish, interrupted by a falling intervallic sequence that once again captures the tonal character of the two five-notes phrases. Yet another chromatic flourish breaks up the sequence. leading into a brisk presentation of the full, 10-note scale, distributed methodically by way of a scale sequence that incorporates open strings at every opportunity ‘The end of the scale sequence is terminated by a minor-third triplet figure, leading into the two final notes of the piece (F and B), spread widely apart at opposite ends of the guitar’ range. This exaggerated interval captures the raised fourth Lydian quality, but the high B also serves as the final remaining pitch that up until then had not been sounded in “Lagrimas,” (All other pitches within the full fretted range of a 20-fret, steel-string guitar had been sounded up to that point.) 1 consider this B natural to be the final note of the piece, even though technically the “il germ” intro and postlude are to be played in the performance. In the “i germe” restatement in the final measures of the piece, I have lengthened it into.a short AABA form with the B section being a transposition of the A section up a minor third, but this time the ST is displaced by a half-note duration rather than an eighth rest. 8