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

287
note is articulated, yet where one might reasonably have expected to be}
are in evidence. This creates a feeling of spaciousness within the
chord.
Sometimes Lilburn takes this one step further in a voicing that
verges on musical segregation. In this, the root of the chord is
assigned to the bass instruments, while the upper instruments are scored
only the third and fifth. Although no examples of this extreme can be
found in tutti passages in his orchestral works, the following extract
(bar 191 of Aotearoa Overture) comes close to this voicing. Only the
trumpet, out of the upper instruments, doubles the root, and only the
first trombone, out of the lower instruments, doubles the fifth:
Ex.24: Aotearoa Overture, bar 191 •
.
r "'t.: .t..t: ~
-
-- -
~.
1.# of. ~. -
+
It
"
U!:.
This manner of voicing is typical of Lilburn's sectional writing,
particularly the strings, where above a bass-line, movement in parallel
thirds can be found in the violins. In this, the viola often doubles
over one or other of the two upper parts, usually the first violin.
Good examples of this are relatively easy to find:
Ex.25: Symphony No.1 movement I, strings only, bars 64-7.
~+
'# flo !:...., ~ ...---... ~~~ !'- .. !'-
~.~ -;... ~:
t:;;;;;; .....
...."'-
If\. f .l. r.. =""'" , ,
t"\ ,...,......, t:::::I
- ,