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

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pedal, and is sustained in the horn I line, reinforced from bar 2
by the second violins.
In this extract, an instance of chromaticism can be found in the
viola melody line - the F-sharp of bar I. The chromaticism of the
harmony results, again, from the use of parallel triads. This is
strongly evident from the middle of bar 2, where movement is in ascending
parallel major triads ~n first inversion.
The fifth and final extract (Ex.S) is from movement III of the
same symphony. In this extract (bars 1-8), all traces of the strictly
diatonic writing that characterised the Aotearoa Overture have vanished.
Chromaticism now dominates the texture both harmonically and melodically.
The accompaniment is strictly triadic, and, from bar 3, contains many
instances of parallelism.
The melody in this extract moves independently t~· the harmonic
accompaniment. It is a two-note melody (D and E-flat) that alternates
between doubling the D pedal and creating semitonal dissonance with the
D pedal. No strong feeling of key is established: the D pedal suggests
a D tonic, but the entry of the upper string accompaniment in bar 2
suggests a tonal centre of B minor.
Ex.S: Symphony No.2 movement III, bars 1-8 (as sounding).
,(.I1c>
t.
T T-f 1
~ .(I, • -c ---____ --- r' T r----r --
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