The beginnings and development of a New Zealand music: The life ...

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patterned, and harmonies become simpler, characterised by a greater use
of functional tonality.
His melodic lines become markedly syncopated and are frequently
constructed as a sequential repetition by a single motif. Two good
examples of this (see Ex.IS and 19), each bearing a close resemblance
to the other, can be found in the lighter movements of his first two
symphonies.
Ex.IS: Symphony No.1 movement III, cello bars 179-S7 •
..,....,.. .."..
Ex.19: Symphony No.2 movement II, oboe bars 9-17.
The qualifying pentatonic motif for each example is so similar that one
could be mistaken for a development or variation of the other. Where the
two melodies differ is in the way they are sequentially repeated.
Example IS undergoes transposition. at theoctavefoI: the first two
repetitions of the motif whilst example 19 remains fixed in the one
register.
Further examples of this 'technique of generating a melody through
sequential repetition of a motif can also be found in these two movements
(see Ex.20 and 21).