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

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Ex.9: Theme 1 of Symphony No.2 movement II, violin I bars 2-9 ..
The progression of the music in the first section of this
movement is dominated by a strict succession of such four-bar phrases,
as the following schema indicates:
Table 7: Structure of Section AI, Symphony No.2 movement II.
Bar Nos. 01
02-05
06-09
10-13
14-17
18-21
22-25
26-29
30-33
34-37
37-42
42-43
Introduction figure.
'Opening' statement of theme 1.
'Closing' statement of theme I.
'Opening' statement of theme 2.
'Closing' statement of theme 2.
Repeat of 'opening' statement of theme 2 transposed
up an octave.
Variation of 'closing' statement of theme 2 modulating
to the new key.
'Opening'statement of theme 3 in new key.
'Closing' statement of theme 3 modulating music
back to the A major tonic.
Recollection of 'closing' statement of theme 2
with considerably altered consequent two-bar phrase.
Codetta based on rhythmic motifs from theme I.
Two-bar link with following section.
The material for section B of this movement is organised in a
simple ternary de~ign. Two similar pentatonic melodies comprise the
section. As with theme 2 from the preceding section, these themes are
made up of two, two-bar phrases. As with all the themes from the
preceding section their opening ~tatement is following by a matching
'closing' statement, although in the case of these pentatonic tunes no
harmonic movement away from the tonic is in evidence.
With the exception of a two-bar link between the statement of the
first pentatonic melody (theme 4) and the second (theme 5), the
progression of music is strictly in blocks of four bars: