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

is E minor.
206
The divisions between the sections are marked by changes of
key signature - from two sharps to one sharp, and back to two sharps.
Movement III (PA~to J =144) shows a return to the use of the
minuet and trio form.
Again, the music is developed phrasally- with
successive versions of the themes being paired into opening and closing
statements.
movement.
Key changes also play an integral role in the structuring of the
The B section of the minuet shows an exploration of the
relative major of the A aeolian tonic key, whilst the trio delves into
keys related to the tonic major.
Like movement I, the form used for each minuet is ternary, whilst
the trio is based on a design of alternating use of two different ideas.
Also like movement I, a four-bar introduction recurs to signpost the
various sectional demarcations, and the first theme is preluded by a
preparatory 'vamp' in the accompanying instruments.
Table 3:
The following is a tabulation of the form:
Structure of Diversions movement III.
First minuet
001-004
005-028
029-044
045-048
049-064
Introduction
Al includes 4-bar preparatory 'vamp'
B
Introduction merged with preparatory 'vamp'
A2
Trio
065-079 AI
080-088 BI
089-096 -A2
097-105 B2
Second minuet
106-109 Introduction
110-133 AI
134-149 B
150-153 Allusion to Introduction
154-169 A2
169-173 Coda
Movement IV (Andante J. =c.44) of Diversions shows evidence of
being constructed within a ternary frame of reference. It comprises two .­
outer sections featuring similar material along with a middle section
contrasting in mood and tempo (marked p~ mo~o J. =c.52). However, a
closer inspection reveals that the middle section is merely a contrasting
treatment of the same material as presented in the outer sections. A
comparison of bars 5-6 with bars 31-2 is sufficient to reveal that the
same three distinct strands of thought form the basis of both outer and
inner sections (the sustained notes of the violin II line in the first
extract are a remnant from the introduction that is replaced from bar 7
with use of the viola figure of bars 5-6):