Development of the form

After getting feedback from the guitarist Chris Cole, who gently agreed to take a look at the piece, I decided to elaborate further on the tremolo section. To add thematic development to that section, I used repetition, variation and further elaboration of the material.

The form became clearer with this development. In a meeting, Darren and I discussed how the development of the form would go from the open, ad libitum section to the mechanical tremolo part in a dialectical relationship resulting in the synthetic last section, which is introduced with the “berimbau” part played in this new light. The last section then acts as synthesis, bringing elements of a folk imagination and a percussion-like spirit, being also permeated with the stubborn tremolo section that never ceases to appear, now in a faster, more violent incarnation. The piece finishes with a coda formed with a series of chords invoking an impressionist Brazilian Bossa Nova atmosphere that culminates the idea of the “berimbau” as a force that engrosses the piece with the purpose.