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

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The Suite for Orchestra also contains two prominent examples of
this type of melodic construction (see Ex.23 and 24). The first of
these, example 23, shows an irregular repetition of a two-bar motif
(bars 32-3) that eventually subsides with a portamento slide to the
climactic note of the melody, followed by a rapid scalic descent to find
the tonic. In mood it perhaps owes something to the boisterous dance
music of a Bavarian band.
Ex.23: Suite for Orchestra movement V, violin I bars 31-8.
Ex.24: Suite for Orchestra movement IV, flute bars 12- 17.
Example 24 is pure Coplandesque in stamping, with its buffeting
syncopations and persistent cross-accenting of the ostinato-like
generating motif across each suc'ceeding bar-line.
Also reminiscent of Copland are the happy melodies that make use
of the 'hoe-down' sentiments. The principal theme of Diversions movement
I and Symphony No.2 movement II are good examples of these (see Ex.25
and 26).