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

268
~: Symphony No.1 movement I, bars 1-4.
~ . ~ ---+'1' I /j"\ r7'\ I
~,$ I t£i !£j [Hill I ad 1j ill I ~=
. I 'P ..... ,..1\t.I .. ,..,.....J.s I
~~~~------------~
-
7 l
However, just as many of Lilburn's modal themes are accompanied
by non-modal harmonies, so too are a number of his non-modal melodies
flavoured with modal harmonies. An excellent example of this occurs in
the introduction to Allegro (see Ex.l0).
The melodic content of this extract comprises the four notes of
the lower tetrachord of the G minor scale. As such, it gives no hint of
the modally defining sixth and seventh degrees of the scale. The first
phrase of the introduction begins with a G minor harmonisation and
cadences on the lowered leading note major chord of Fmajor-a typically
modal progression. The second phrase begins with a return to G minor
harmonisation followed quickly by the characteristic dorian mode chord
of the subdominant major:
Ex. )0: Allegro for strings, bars )-6.
+.L,
--
'---- c _ 0 ........... r:: '--:t=. -:;:.
~~~ ________________________ I I F~
I
VII
IV
The mOve from the tonic to the lowered leading note major chord