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

188
Ex.43: Symphony No.2 movement I, viola bars 1-4.
J J
r t r
::.
....--..
, ~ f t _.
Also containing an instance of chromaticism is the declamatory
trumpet theme (see Ex.44) that bursts into the quiet texture of Symphony
No.2 movement I at bar 95. Here is another melody comprised almost
solely of a reiterated single note. More significantly though, it is one
of the very few themes that is first articulated in a brass instrument.
Ex.44: Symphony No.2 movement I, trumpet I bars 95-8.
Most of, the themes employed in the second movement of Symphony No.2
have already been discussed, in the main, as examples of dance-like
themes that are constructed as a sequential repetition of a given motif •.
The clarinet theme of bar 44 (see Ex.45) is a similarly-spirited theme,
but is based on the repetition of the notes of a pentatonic scale. This
produces a characteristic wave-like contour as the melody runs down and
up and down and up that scale. What gives the melody greater interest,
is the rhythmic grouping of the notes in the first two bars of the extract
into a 3+3+2 pulse pattern.
Ex.45: Symphony No.2 movement II, clarinet (as sounding) bars 44-7.
M~lody
is not the element of primary interest in the third movement
of Symphony No.2. What little melody there is in this 'atmosphere'
movement, derives in the main from a two-note theme first stated in the