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

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Ex.25: Diversions movement I, violin I bars 8-13.
f
...... r'+
til td I L11 OJ tu I kg ~
~' ( U t:H f@ I~!, t I
-===-
:
I e I
Ex.26: Symphony No.2 movement II, violin I bars 2-5.
In the Diversions example (Ex.25)· thematic use is made of a reiterated
note, an idea that Lilburn makes use of with some frequency in other
secondary themes. The Symphony No.2 example (Ex.26) is interesting in
that it is one of the few melodies in which Lilburn modulates from the
chosen diatonic scale. It begins as pure lydian in mode based on A. At
the mid-point of the melody, the construction shifts from use of the
mode to a scalic design based on intervals of the third. The closing
notes of the melody clearly show the application of this design and its
attendant facilitation of melodic modulation:
Ex.26a: S~hony No.2 movement II, violin I bars 4-5.
:::::::1 ~ "p
1=t r 7 r.
+ r +
However, the modulation is only fleeting, for the answering phrase to
this theme shows a return to the A tonal centre. The modulation here was
used for a light-hearted effect rather than for any long-term harmonic