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

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Ex.30: Song of the Antipodes, ·strings bars 349-50.
U
......-l
I
~-.
" , ,. ~ ~
r r
....tt.- l--
~
..
The next logical step is to restrict the parallel triadic
movement to either major triads or minor triads. This means that even
though a melody may remain diatonic, the accompanying parallel lines,
although diatonic in shape, must necessarily introduce to .the texture
elements of chromaticism. As Lilburn's use of the rapidly ascending
anacrusis figure all but ceases in the later works of his first period
of composition, it is difficult to find an example of his use of
parallel major or minor triads in conjunction with this figure. The
following example from movement II of Symphony No.2 (1951) bears SOme
resemblance to this figure. Harmonic movement in the upper lines of this
extract is strictly in parallel major triads:
Ex.3!: Symphony No.2 movement II, strings bars 127-9.
u"
-
..,...
This use of a strict succession of parallel triads can be found
throughout Symphony No.2. To give but one more example, consider a
passage from the introduction section of movement I: