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

207
Ex.la: Diversions movement IV, bars 5-6.
Ex.lb: Diversions movement IV, bars 31-2.
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1 1 !.---. ~,.~ " .. . .. . .. --......
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. ,
- I~
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- ,:\'\. z
Two formal processes are in fact at work in this movement. The
first is the organisation of contrasting treatment of the material into
a ternary design. The second is the organisation of the material into a
theme and variations, .with each succeeding variation.being of
approximately eight bars length. The 'theme' of the variations is the
three distinct strands of thought shown above: the slow-pulsed violin
melody that meanders chromatically (idea x); the reiterated crotchets
of the viola (idea y) which, incidentally, constitutes a two-bar ground
that is played no less than nine times before its pattern is broken;
and the sounding of triads in the cello line (idea z). The 'variations'
sometimes overlap to produce phrases of less than eight bars length.
The following section-by-secti6n tabulation of the work illustrates the
two formal processes at work side by side: