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

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Section AI (bars 46-54) announces a four-bar theme that is clearly
divisible into an antecedent and consequent figure. Section A2 (bars
63-71) explores the antecedent figure, and section A3 (bars SO-7)
explores the consequent. The B sections are all based on the four-bar
second theme announced at bars 55-S.
Like the statements of the themes in the minuets, the statements
of the themes in the trio are coupled as a matched pair of opening and
closing statements. The harmonic direction of these opening and closing
statements, however, is not so clearly dominant-to-tonic as in the
minuets.
In this movements of Diversions, key relationships are integrated
into the design of the work. The A sections of the minuet are all in the
tonic and contrasted with B sections in the dominant. Both minuets share
the same tonic key of A major. The beginning of the trio is marked by a
change of key signature from three sharps to no accidentals. The new
tonality is never clearly defined, but seems to be bas sed on the distantly
related tonal centre of F - mainly through the repetition of that note
in the accompanying lines. The BI section of the trio likewise possesses
an ambiguous tonality that seems to be based on B-flat. Each succeeding
section of the trio is thus marked by a change in tonal centre.
Movement II (POc.o adag.£o, expItU-6'£vo J = c.58) of Diversions is
in ternary form. Its outer sections comprise a chorale-like treatment
of a simple two-bar theme, ordered neatly into a succession of two-bar
phrases. Both outer sections are twelve bars in length, and both sho~
the same linking of the second and third phrases and the fourth and
fifth phrases. The other phrases are all separated from each other by
a tutti quaver rest. The effect of this linking is" to make the twelvebar
sections sound as if they are constructed on a two-bar plus four-bar
plus four-bar plus two-bar pattern.
A marked contrast to the sombre "and dignified outer sections is
found in the middle section of the ternary form. Set at an alieglto
(J =c. 138) tempo, this section comprises a series of florid phrasal
variations of a melody first heard in its entirety at bars 17-20. With
its startling contrast of mood and tempo between the sections; this
movement recalls the spirit of the Hungarian c.Zakd~, although of course
the c.zakd~
extends the alterriation of contrasting sections beyond the
confines of ternary form.
Like the first movement of Diversions, integral use is made of
key changes within the formal design of the movement. The prevailing
key of the outer sections is B minor, whilst that of the inner section