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

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Example 5 shows the process of motivic imitation~within a threepart
texture, in which all three parts are involved in the imitation.
Example 6 shows motivic imitation within a four-part texture in
which the melody (trumpet I) line, the upper strings and the lower
strings all participate in the process of imitation. The fourth line -
an additional harmony line in the upper strings, pitched, in fact, above
the trumpet melody - serves to reinforce the chosen harmony.
Example 7 - the announcement of the second subject of Aotearoa
Overture - shows an inner harmony line based on the reiteration of
rhythmic characteristics present in the theme itself.
Example 8 shows the use of a fully fledged counter-motif as part
of the inner-harmony. This extract is only a portion of a much longer
passage that shows alternating and overlapping statements of melody in
the woodwind, with countermelody in the viola and cello. To digress
briefly: as this passage progresses, the countermelody gradually assumes
the shape and properties of the melody. By mid-way through the passage
it shows movement in imitation of the melody line:
Ex.9: Symphony No.2, movement I, flute, oboe, clarinet and cello bars 42-6.
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