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

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This anticipation can also be heard in example J2c from the
same work. The upper instruments are the first to hint. at the tonic
(minus the fifth) on the third crotchet beat of bar 104. The bass at
this point is sounding the super tonic D. On the third crotchet beat of
bar 105, the bass-line steps down onto the tonic, but at the same time
the upper instruments strike a dominant chord. A beat later, these
upper instruments return to the tonic and sound the chord twice, firstly
on the 'weak' fourth beat of bar lOS, then finally on the first beat of
bar 106. Examples of this weak-to-strong anticipation of the cadential
tonic can be found throughout the Aotearoa Overture. To give but one
further example, the opening flute theme contains this idea of
anticipation at the end of its opening phrase. In this, the flute lines
anticipate the outline of the new tonic on the fourth crotchet beat of
bar 4:
Ex.13: Aotearoa Overture bars 4-5.
~t:"r""t"" ~~ 1"('-' c. ... :....,...t .... ~~
'I t.Q ----.
~fl. ~~§§~~~~
Example 12i and example 12j both present examples of a flattened
leading note to tonic cadence. Example 12i, from the introduction to
Festival Overture, presents a near-classic aeolian cadence with its
VI-VII-I harmonic outline. In actual fact though, it is a iioc_VII9+flat
7_1 (with an absent third) progression that is presented. Again, the
melody line anticipates the sounding of the tonic chord - by a quaver
beat.
Example 12j presents a V-VII-I cadential outline. The tonic again
is anticipated on a weak beat, this time in a tutti statement that is
reiterated a quaver later on a stronger beat.
Lilburn's cadential progressions, as exemplified by the abovequoted
extracts, represent only a small part of his diatonic/modal
harmonic writing. Sometimes whole passages are built out of-a sequentialstring
of these modal progressions. The closing bars of both the
Aotearoa Overture and the Festival Overture provide good examples of this.