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

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independence of the bass-line.
Whilst the upper harmonic lines move in triadic formations, the
bass-line is left free to explore notes outside the triad. This gives
rise to a most characteristic facet of Lilburn's harmony: that of the
triad stated above a bass-note not part of that triad.
These 'non-triadic' bass-notes are restricted to a few select
degrees of the scale: those which least disturb the otherwise triadic
quality of the writing. To elaborate: where a minor triad is presented
in the upper lines, Lilburn often 'substitutes the root' of the given
triad in the bass with a note a perfect fourth higher. This non-triadic
bass-note creates a chord characterised by both a minor seventh and a
major ninth:
Ex.16: Examples of 'root substitution' beneath minor triads.
1
~i
Pj 01
~~ ""
t,,· ",. ~""f..rc.l ..,:,",
I'< H
- ..,
,..:",.,. J..~.t. ~- reet F"~b .. ,
Where a major chord is presented in the upper lines, Lilburn often
substitutes the root in the bass with either a note a tone higher (which
produces a chord characterised by a minor seventh, a major ninth, and a
major eleventh), or a note a major sixth higher (which produces a chord
characterised by only a minor seventh):
Ex.17: Examples of 'root substitution' beneath major triads.
_j~ (.t.. ...... ~ .... :rt..
s...\~t.+.Jc.. 1'0"'\ ...
... ...-c:.. '"" ~~ \-vo..I.
By limiting his use of non-triadic bass-notes to the three above-mentioned
scale degrees, Lilburn keeps his harmonic texture within the bounds of