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

280
Ex.21: Allegro for strings, bars 63-76, piano reduction.
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In bar 64, under the prevailing tonic of G minor, a clear cadential use
is made of the modal flattened leading-note major chord. This cadence,
it may be noted, is prepared for as early as the last crotchet beat in
bar 63, with the sounding of the C in the melody. The upper two lines
in the first half of bar 64 oscillate over a tonic G pedal between notes
belonging to the leading note chord and the tonic chord. The lower of
the three upper lines (the 'viola' line) persistently reiterates the
dominant of the tonic. The cadence point to the phrase is finally reached
on the third crotchet beat of bar 64.
On the last quaver beat of bar 65, and particularly on the 'first
and third crotchet beats of bar 66, use of a non-triadic bass-note is
made. The C root of bar 66 is a substitute a perfect fourth higher than
the root of the G minor triad in the upper instruments.
Bar 68 shows the characteristic anticipation of the new tonic at a
cadence point. The new tonic is, E-flat major and is arrived at midway
through bar 68. The melody line anticipates this toni~ chord as early as
the last crotchet beat of bar 67 (indeed, the upper instruments anticipate
the tonic as far back as the second crotchet beat of this bar, but in a
different inversion that is subsequently forsaken). At the beginning of
bar 68, the upper instruments have all arrived at the new tonic chord,
but the independently moving bass-line is sounded on the supertonic (F)