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

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Ex.19: Festival Overture, bar 3, piano reduction •
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Bar 5 shows a similar use of non-triadic bass notes, but this time the
triad of the upper harmony changes from F minor to A-flat major
synchronised with the B-flat to F movement in the bass. The B-flat
in the bass now represents a perfect fourth substitution. The F remains
a major sixth substitution.
Ex.20: Festival Overture, bar 5, piano reduction.
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The important point to stress about such chords is that the bassline
is kept entirely separate from the upper harmony; it is never
doubled in the register of the upper harmony. Further to this, Lilburn
never adds notes to such chords ,they are always built. solely of an upper
triad with a non-triadic bass-line. This means that where, for example,
the relationship of the bass-note to the upper triad gives rise to an
'eleventh' chord, the third and fifth of that 'eleventh' chord is absent.
By the same token, for a 'ninth' chord, the third of the 'ninth' chord
is absent.
In the following passage, taken from the 'fused' or 'wedded' theme
of Allegro (bridging portion of the exposition section) one can see a
number of modal processes at work: