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

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extensively uses its lower notes. If anything, this instrument's
'neutral' middle register is-forsaken ~n the symphony.-
The horns show a marked extension of the bottom of their range in
the symphony. They are generally set lower in the later of the two
works.
Table 9: Comparison of ranges of horns as used in Aotearoa Overture
and Symphony No.2 movement I.
~MS
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Textures in the symphony are generally a little thicker than in
the Aotearoa Overture, despite a drop, as mentioned above, in the number
of instruments employed at any given time.
Whereas the texture of
Aotearoa Overture can usually be reduced to two (or at most three) lines,
in Symphony No.2 movement I, three or four lines for the texture is more
•
usual. There is a significant drop in the number of doublings of an
instrumental line, as well as in the incidence of tutti passages.
Symphony No.2.
Lilburn also shows a willingness to use closer voicings in
triadic harmonisation.
This is no doubt due to his distinctive use of parallel
The following voicing (see Ex.4), is typical of
many of the chords found particularly in the exposition of the second
subject.
Ex.4: Symphony No.2 movement I, voicing of chord at bar 106, beat 1.
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