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

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homophonic, sometimes contrapuntal) of the initiating trumpet idea.
Secondly, .the.reis· the harmonic and rhythmic background accompaniment
supplied by the strings and woodwind (including horns). The brass
exploration produces plentiful instances of non-parallel, but triadic,
harmonisation, for example, bars 110-11 in the trombones
Ex.33: Symphony No.2 movement I, trombones bars 110-11.
,
I , , I +
, , , , ,
or bars 119-20 in the trumpets:
Ex.34: Symphony No.2 movement I, trumpets bars 119-20.
The trombone example (Ex.33) uses only major triads, but the statements
of these alternate between appearing in root position and appearing in
second inversion. The trumpet example (Ex.34) likewise uses only major
triads, but (from the first use of a triad) moves from a first inversion
to a second inversion to a root position for each succeeding triad. No
attempt is made in either of these examples to maintain a diatonic line.
The harmonic background of the rest of the orchestra is based on
. the idea ofalternating.majQrt:t;'iadsadiminis.hed Hfthapart. . Bars
105-9, for example (see Ex.35), show an alternation between a first
inversion B-flat major triad and a root position E major triad: