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

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simultaneous use. The motif employed in the accompaniment is developed
. sequentially and ~s stated with sufficient frequency throughout the
movemen"t to take on the status of a theme (see Ex.4J) •. It makes a
feature of reiterated notes, and, interestingly, explores the harmonic
area a key away from the tonal centre (based On a B major to E major
outline in the key of A). In mood and construction, this theme owes much
to the dance-like thematic type.
Ex.41: Diversions movement V, violin I bars 1-4.
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Above this theme, from bar four in the movement, the violin I line states
a melody that is harmonically interesting for the way it alternates use
of a raised and lowered seventh degree of the scale employed (see Ex.42).
Ex.42: Diversions movement V, violin I bars 4-9.
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The introduction theme to Symphony No.2 movement I (see Ex.43) is
a short motif that employs, like example 40, a one-directional obliquelysloped
contour. It makes a feature of reiterated crotchets - a motif
that characterises much of the movement. Its first bar contains an
instance of a chromatic note (the foreign F-sharp in the key of C major)
- a small pointer to the fact that the underlying harmony, with its
movement in parallel major triads, is markedly chromatic.