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

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restricted 'vocal' compass of one octave, and it makes heavy use of
reiterated notes. The 'active' rest inserted before the final three
notes helps produce a rhythmic sharpness for the cadence of the melody.
Ex.38: Diversions movement II, violin I bars 17-20.
The fourth movement of Diversions produces one of Lilburn's
longest melodies. It is, in a sense, a never-ending melody in that it
meanders its way above a reiterated crotchet accompaniment through a
variety of modes (see Ex.39).
Ex.39: Diversions movement IV, violin I bars 5-12.
,....--.,.
r r I
~J. ,I j
-==-----
Its partnering melody (see Ex.40) makes thematic use once again of
reiterated notes, and, like a number of Lilburn's shorter melodies, it
possesses a one-directional obliquely-sloped contour.
Ex.40: Diversions movement IV, violin I bars 31-3.
In movement V of Diversions, Lilburn partners two themes for