Methods of study 4

You will be able to take an unmarked copy of the score into the
examination room and will be required to write one essay from a choice
of two. Realistically, you will have about 35 minutes in which to plan and
write your essay, so it is essential that you take every opportunity to learn
how to plan and write essays. You will have a choice between two different
titles and you must consider carefully which of these will enable you to
give the better answer within the time available.
You will need to learn the techniques of musical analysis, starting probably
with simple piano pieces or, perhaps, utilising any music you and your
fellow students are currently learning for a concert or a grade examination.
From such pieces you will be able to appreciate phrase structure,
development of motifs, overall form, tonality, modulation, and so on.
You will need to understand the meaning of sonata form. You may well
be aware of this through KS3 and/or GCSE studies, though it is fully
explained below.
Phrase structure, tonality, modulation, use of instruments, awareness of
texture and form can also be integrated with compositional work.
Key musical features 4
Phrase structure
In the Classical period (Beethoven composed this symphony towards the
end of this period), phrasing was balanced and invariably regular. Examples
of questions and answer or antecedent/consequent phrasing can be
found in both movements under consideration, but there are also examples
of irregular-length phrases and these should be borne in mind in any
question focusing upon phrasing. It is certainly the case that Beethoven did
not restrict his writing to strictly regular phrase lengths.
Tonality
This includes consideration of the use of both major and minor tonalities.
(There is no modal writing in this symphony.) It also covers the possible
reasons behind the choices.
Modulation
During the Classical period, most modulation was to one of the closely
related keys of the original tonic, and you should be familiar with such
links, as shown:
14 14
Learning objectives:
to study the set work: 4
Beethoven: Symphony No. 1
in C major Op. 21, frst and
second movements
to examine the structure of 4
sonata form
to look closely at the use of 4
sonata form in each movement
to look at the slow 4
introduction to the frst
movement
to examine in detail the main 4
themes and ideas presented in
the exposition sections
to consider how Beethoven 4
varies, extends and alters his
ideas within the development
sections
to study how the themes 4
return within the
recapitulations and to compare
their return here with their
initial appearance in the
expositions
to examine how Beethoven 4
brings the movements to
a conclusion in the coda
sections, considering to what
extent these are based on the
codettas from the ends of the
expositions
to study Beethovens use of the 4
musical elements.
2 Set work Beethoven: Symphony No. 1,
frst and second movements
14
Subdominant Tonic Dominant
Relative minor Relative minor Relative minor
For the frst movement, in C major, this can be set out thus:
The second movement has F major as its tonic key, and therefore the
closely related key chart for this movement is:
However, study of Beethovens music in these two movements will
reveal that he did not confne himself to these keys, and was prepared
to modulate outside this scheme to accommodate his musics direction
and aspirations.
Use of instruments
The core of the Classical orchestra was the string section, with the
wind sections often having a more subsidiary role. However, although
the brass instruments were limited to notes of the harmonic series
(see explanation within the analysis on page 22), Beethoven was able
to use these and the woodwind instruments as an independent group
acting as a contrast to the predominant string sound. Despite some
limitations in his resources, Beethoven, like Mozart and Haydn, was
able to write for a wide range of combinations of instrumental timbres,
producing a great variety of textures.
Texture
This refers to whether the writing is homophonic or polyphonic:
these key musical terms are explained in the previous chapter on pages
910, where examples are given of each. The defnitions are reproduced
here:
Homophonic and polyphonic derive from the Greek and mean one 4
sound and many sounds respectively.
Thus, homophonic music (sometimes referred to as a harmonic or
chordal texture) is where all parts have independent pitches but the
same rhythms.
Polyphonic 4 or contrapuntal music is where each line has its own
melody and rhythm, although there are often close similarities
between the lines.
15
Chapter 2 Set work Beethoven: Symphony No. 1
Things to do
Identify the key signatures of all 4
keys in each of these examples.
Note the differences in key 4
signature.
In the case of the minor keys, 4
work out the leading note and
both the harmonic and melodic
minor scales.
F major C major G major
D minor A minor E minor
Bb major F major C major
G minor D minor A minor
16
AS Unit 1 Infuences on music
Analysing the music 4
After initial guidance on the process of analysis from your teacher,
you should analyse short pieces of music or sections of longer pieces.
Concentrating on a small number of features is likely to be benefcial at
frst. Thus you might, with different works, analyse the composers use
of one of the following:
melodic shape/phrase structure 4
melodic/motivic development 4
use of texture 4
choice of timbre 4
choice of and use of tonality, including modulation 4
structure. 4
You should never just describe what the composer is doing: rather, you
should comment on the effect of the modulation, melodic shape, choice
of timbre, and so forth, under discussion. It is a matter of observation
to be able to point out that the word-setting is syllabic; it is the role of
analysis to state, for example, that the use of syllabic setting has been
chosen at this specifc stage because of its ability to accentuate the
individual words and make their delivery and impact more direct. It is
analysis which will gain you marks in the examination essay answers.
With this set work, musical quotations are not required just precise
reference to the score. However, any such reference should be to
illustrate or exemplify a point you are making. For example, if discussing
Beethovens use of contrasting dynamics, you might refer in movement
one to bars 14 and point out the precise and regular changes from forte
(f) to piano (p), then explain what effect this is having.
Background information 4
Beethoven was born in 1770, in Bonn, in the archbishopric of Cologne.
Although he was baptised on 17 December, there is no record of his
actual date of birth, though this is presumed to be the day before. His
father was a musician and singer at the Electoral Court of Bonn, with
something of a weakness for drink. He looked to Ludwig as a possible
prodigy in the same vein as Mozart. His mother was described as a
gentle, warm-hearted woman. Beethoven referred to her as his best
friend. He was one of seven children, but only the three boys survived,
Ludwig being the eldest.
Beethovens early musical education was from his father and he soon
showed tremendous ability as a pianist and violin (later viola) player.
His music education was taken over by C. G. Neefe (174898), the
court organist. While only eleven, he was able to deputise for Neefe
and was already composing. By 1784, he had been appointed assistant
court organist. He went to Vienna in 1787, but returned on hearing the
news that his mother was dying. He spent the next fve years in Bonn,
strengthening his own position at the court chapel and opera, playing
viola in the opera orchestra and generally experiencing a wide range of
music. He was also gaining a reputation as a pianist and soon started
teaching piano. Five years later, he settled in Vienna and studied with
Haydn initially. However, the two did not get on: it is worth remembering
that Haydn would be 60 by this time and an established composer, while
Beethoven was a young man who was anxious to make an impression on
society. Beethoven also reported that Haydn was rather a lackadaisical
If, during the course of your analysis,
you give letters to themes and/
or motifs, never simply use these
within an examination answer.
Always give a precise bar or beat
reference. Similarly, never refer
to sections within a movement
without again identifying their
location precisely.
Examiners tip
17
teacher, and Beethoven wanted to make progress quickly. Beethoven
received tuition from other composers during this period, notably from
Antonio Salieri (17501825).
Beethovens musical gifts gained him entry to the musical circles of
Vienna and from there to the salons of the aristocrats. Many musical
parties took place in such places, and it was Beethovens tremendous
ability as an improviser that impressed. It was with the arrival of works
from 1798 to 1800, such as the Piano Sonata No. 8 in C minor, usually
referred to as the Pathtique, the Piano Concerto No. 3 in C minor
Op. 37 and the String Quartets Op. 18 that Viennese society recognised
his worth as a composer.
Ludwig van Beethoven at work at the grand piano
Beethoven had wealthy patrons, vital in those days and, having been
befriended by Prince Lobkowitz, he had an orchestra available to play his
works.
Chapter 2 Set work Beethoven: Symphony No. 1
Did you know?
Antonio Salieri was a contemporary
of Mozart, though he outlived him by
many years. He was appointed both
Chamber Composer and Director
of the Italian Opera Company in
Vienna, having been taught initially
by Florian Gassman (172974),
whom he succeeded at the Court of
Emperor Joseph II. He was a prolifc
and very popular composer, rather
different from his portrayal in the
flm Amadeus. His contemporaries
regarded him as a true successor to
Gluck (171487) as a composer of
opera.
18
AS Unit 1 Infuences on music
However, soon after the performance of this frst symphony, Beethoven
noticed that his hearing was getting steadily worse and, by 1802, knew
that the condition was incurable. His conviction that this inevitably
meant his imminent death led to the document known as the
Heiligenstadt Testament, a passionate and moving piece of writing from a
man in the depths of despair. To understand fully Beethovens character,
and the way he eventually found the ability to carry on composing despite
this affiction, reading of this is strongly recommended.
Basil Deane, writing in The Beethoven Companion, commented that
Beethoven regarded the symphony as a public rather than a private work.
He saw Beethoven as wanting to proclaim what he perceived as the
common human concepts of delight in nature, in peace, in brotherhood
and in freedom, while being aware of defeat and triumph. This could be
expressed only through a new musical language, and this was what he
developed throughout his symphonic writing.
The Classical orchestra
Many symphonies of this period were written for what is widely referred
to as the Classical orchestra, which was characterised by a string section
with pairs of wind, brass and percussion instruments.
The Classical orchestra
Italian English
Flauti Flutes (2)
Oboi Oboes (2)
Clarinetti Clarinets (2)
Fagotti Bassoons (2)
Corni Horns (2)
Trombe Trumpets (2)
Timpani Timpani invariably tuned to tonic and dominant
Violino I 1st violins
Violino II 2nd violins
Viola Violas
Violoncello Cellos
Contrabasso Double basses
This is exactly the orchestra for which Beethoven wrote this symphony,
with the clarinets, horns and trumpets being in C, meaning that they
are not transposing instruments but sound at the written pitch.
19
The Classical symphony
During the time of Haydn and Mozart, the symphony had settled into a
four-movement form, usually:
1 a lively opening movement, often in sonata form, sometimes with a
slow introduction
2 a contrasting slow movement, which could also be in sonata form, or
in binary, ternary, da capo aria, variations or rondo form
3 a minuet and trio, or scherzo and trio
4 a fast fnale.
Sonata form
Not to be confused with compositions called sonatas, sonata form was
developed during the Classical period and was the mainstay of musical
form for a very long time because of its inbuilt fexibility.
There are three main sections:
exposition 4
development 4
recapitulation. 4
To these, composers would sometimes add:
a slow introduction 4
a codetta or short rounding-off section to the exposition 4
a coda or longer rounding-off section after the recapitulation. 4
Exposition
Here, the main themes or, as they are more usually named, subjects
are presented.
In its simplest form, the pattern is:
frst tune or subject in the tonic key; this is usually a strongly 4
rhythmic melodic idea, or masculine tune
bridge passage, modulating and leading to 4
second tune or subject in the dominant; this is traditionally a gentler, 4
more cantabile or feminine melody.
Development
Here, the composer uses material from the exposition and develops or
varies it, the music passing through a range of keys before returning
towards the tonic for the recapitulation.
Recapitulation
The main themes return, sometimes exactly as in the exposition,
sometimes varied:
frst subject in the tonic 4
bridge passage, modifed and leading to 4
second subject, also in the tonic (or tonic major if the original tonic 4
was minor).
Additional considerations
In the exposition, there may be more than one melodic idea within 4
the frst or second subject.
Chapter 2 Set work Beethoven: Symphony No. 1
As you will have an unmarked
copy of the score with you in the
examination room and the examiner
will have a copy to refer to as your
answer is marked, there is usually no
need to write out musical quotations,
although precise reference is
essential, preferably giving bar and
beat numbers.
Examiners tip
20
AS Unit 1 Infuences on music
The development section may use only part of the musical material 4
from the exposition. It might introduce new ideas.
The recapitulation will often vary the orchestration of the subjects. 4
The coda, where used, might extend ideas from the music already 4
used or introduce new material.
It is important to remember that audiences at this time would mostly be
hearing pieces at their frst performances: composers liked to introduce
new pieces at concerts to maintain interest in their work. Therefore,
audiences were used to following the different sections of the music
purely by ear. Thus, in a piece in sonata form, even though many in
the audience would not apply such a term to it, they would expect
the beginning of a movement to establish the tonic key and then they
would be able to hear the introduction of new themes, changes of key,
development of material and the fnal return of the original key with its
restatement of the main themes. They would enjoy the contrast in style
between the main subjects; they would notice the changes of key and
delight in the ingenuity of a composer in the varying of the original ideas.
They would certainly notice should anything unusual occur, such as an
unexpected change of key or the main theme returning in the wrong key
(in other words, not the tonic).
There were plans and sketches for the frst symphony as early as 1795,
but these were abandoned the following year, and this symphony received
its frst performance on 2 April 1800 at the Burgtheater in Vienna. This
theatre was built in 1741 and became known as die Burg.
In the same concert as the frst symphony, Beethoven premiered his
Septet Op. 20: this was an instant success and was performed again
during concerts when his next three symphonies received their frst
performances.
Analysing Beethovens 4 Symphony No. 1 in C major
Op. 21
The symphony is in four movements:
1. Adagio molto Allegro con brio (very slow fast and lively)
2. Andante cantabile con moto (at a steady speed but with movement
and in a singing style)
3. Menuetto and trio Allegro molto e vivace (very fast and lively)
4. Adagio Allegro molto e vivace (very slowly very fast and lively)
In the ensuing analysis, bar numbers are given to identify passages,
themes or quotations for example, 4553 refers to bars 45 to 53. Where
a small number follows a bar number, this refers to the actual beat in the
bar, so 77 means the frst beat of bar 77.
Looking at the frst movement Adagio molto Allegro con brio
Slow introduction, Adagio molto: bars 112
Bars 14
Starting with a slow introduction, as here, is one of the options available
within sonata form. Although the symphony is in C major, it does not
open by affrming this key, as was the norm. Indeed, it starts with a discord
(though not a strong one for modern ears): a dominant seventh the frst
chord of a perfect cadence into F major. This is followed by an interrupted
Key terms
Dominant seventh: chord built on
the dominant or ffth note of the
key in C major, the chord of G
with a minor seventh added to
give the chord GBDF.
Perfect cadence: sometimes referred
to as a fnal cadence, though this
is less satisfactory, as a plagal
cadence can also be referred
to by the same term. A perfect
cadence consists of two chords
to end a phrase: these chords
are the dominant (V) and tonic
(I), though the dominant often
appears as a dominant seventh
(V
7
). The important feature is that
the leading note, the seventh note
of the scale, rises to the tonic,
helping to ensure that the music
sounds completed or fnished:
Interrupted cadence: as its
name suggests, this particular
cadence sounds as if it is moving
towards completion but is then
interrupted, resolving onto a
different chord. Usually, this chord
is the submediant (VI), though
some composers do increase the
effect of a change of direction by
resolving onto the fat submediant
(bVI):

Reduce to as small a size as is needed to

fit into the 'Key Terms' box
KT1a

V7

V7

Reduce to as small a size as is needed

to fit into the 'Key Terms' box
KT1b

VI

V7

VI

21
cadence into A minor and then by a perfect cadence into G major. Thus,
within four bars, the music has cadenced into the subdominant, the relative
minor and the dominant of C major but not the tonic key itself: no wonder
that contemporary audiences were somewhat taken aback.
In these bars, Beethoven is creating a tension, not only by avoiding the
home key, but also by the use of the rising semitone, the te to doh of the
scale. This diatonic semitone from leading-note to tonic is one of the
generating forces of this movement. Additional melodic tension is caused
by the fact that the interval connecting these pairs of cadential notes is a
tritone, a diminished ffth (or augmented fourth). The opening, with its
fp markings, is mysterious and somewhat tentative: a more triumphant
sense is achieved in bar 4 with the arrival of the dominant chord.

_
I. Ex. 1
Ensure text is enclosed in the quotation; crop after the last note
Fl.1
,
tritone
,
,
,
,
tritone
,
,
,
, ,

,
_
Fg.1
fp
,
,
,
,
fp
,
,
,
,
cresc.
, ,

f
,
Bars 4
2
12
4
From this dominant chord, the violins have a short linking passage to a
more decorated passage which, again, avoids a defnite perfect cadence
into C major, although there is a V
7
dIb cadence (third inversion to frst
inversion) in bars 56 and a perfect cadence in bars 78, where the
tonic is fnally heard in root position. However, the melody ending on the
third of the chord makes for a slightly less-than-fnal ending.
Beethoven seems to be teasing us to expect the arrival of the tonic with
virtually a full bars dominant in bar 9 before the G moves up to G# and
the chord resolves onto A minor (chord VI, the submediant). Bars 1113
see the frst full perfect cadence, with both melody and bass ending on
C (IcV
7
I) as the next section Allegro con brio begins:

_
_
_
_
_
_
_
_

_
11
I Ex.2
Fl.1,2, Ob.,
Clt.
Cor 1,2
f
,
,
,
,
,
,

,
,

p
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
p
,
,
,
,
.
_
Fg.1,2
f
,
,
,
,
,
,
p
,
,
,
,
p
,
,
.
_
Vl.I,II
f
,
,
,
.
p
,
,
,
,
,
,
,
,

Vl.I
p
,
,
,
,
,

,
,
_
Vla., Vc. e B
f
,
,
.
p
,
,
,
,
,
,
,
,
p
,
,
,
,
,
.
Chapter 2 Set work Beethoven: Symphony No. 1
Key terms
Diatonic: a diatonic scale is one
where no note is chromatically
altered; diatonic music only uses
the notes of the prevailing key.
fp or fortepiano: literally, loud
quiet: a note or chord which is
played initially loudly and then
immediately reduces its dynamic
to quiet.
Dominant: the chord built on the
ffth note of the scale.
V
7
d: the dominant seventh chord in
its third/fnal inversion, i.e. with
the seventh of the chord as the
bass. For example, from bar 5:
Ib: the frst inversion of the tonic
chord, i.e. where the third of the
chord is the bass. For example,
from bar 6:

KT6
Reduce to appropriate size for 'Key Terms' box

Ib

KT5
Reduce to appropriate size for 'Key Terms' box

V7d

Did you know?
Tonic solfa (or tonic sol fa) is a
system for the teaching of sight-
singing which gives a name to every
degree of the scale, thus: doh (or
do), re, mi, fah (or fa), sol (or
soh), lah, ti. Its most famous use
is probably in the song Do-Re-Mi
from the Rodgers and Hammerstein
musical The Sound of Music.
22
AS Unit 1 Infuences on music
Exposition: bars 13109
Bars 1318
The frst main theme (bars 1317) incorporates the rising semitone
as a key feature. Notice Beethovens predilection for presenting his
motif (bars 13 and 14) and then using a rhythmic diminution of it
(bar 15):

Allegro con brio

_
I Ex.3
Ensure that the text is included
13
p
Vl.1
,

motif
semitone
,
,
,

s
diminution
,
,
,

,
,

,
,

Fl.1
,

s
.
_

.
s
p
p
,
,
,
,
,
,
.
,

,
,
,

,
,

,
,

,
,

,
The use of the semitone (BC) in bars 1316 is reinforced by the
chromatic rise in the fute (CC#D), pointing to the motivic use of
this interval. Note also that Beethovens theme is based on the notes
of the tonic triad (in this case, CEG), a characteristic of many of his
symphonic themes.
Bars 1933
The counterstatement is on the supertonic (bars 1923) rather than
the dominant and moves from D minor via a chord of F minor (the
submediant minor) in second inversion to V
7
b in bar 26. From here, the
emphasis is frmly on the dominant with frequent use of sf (sforzandi)
and, in bars 3133 a clear perfect cadence into C major, using the chord
progression IIVIcV
7
I:

I Ex.4
Adjust to match the size of other excerpts
31

During this passage, the restrictions faced by composers because brass
instruments were limited to the notes of the harmonic series are
noticeable: look carefully at the pitches written for horns and trumpets
during these bars (and elsewhere).
Bars 3352
A secondary idea is introduced at this point as the transition theme,
again frmly asserting the tonic and again based on the tonic triad.
Noticeable here is Beethovens use of the wind section to complement
the strings, giving them a clear identity and role within the
symphony:
Key terms
Diminution: A rhythmic feature in
which note values are halved so
that an idea is played at double
speed.
sf (sforzandi): this derives from the
Italian word meaning forced
and means that the note should
be played with an accent.
Other composers might use fz,
abbreviated from forzato but with
the same meaning.
Harmonic series: The series of
notes that can be played on a
brass instrument just by altering
the pressure of the lips on the
mouthpiece. As the pitch gets
higher, so the available notes are
closer together.

23
Chapter 2 Set work Beethoven: Symphony No. 1
As the woodwind answer the violins opening phrase, futes, clarinets and
bassoon play at three different octaves, adding their distinctive colours.
This is all played over a tonic pedal played by 2nd bassoon, cellos and
double basses, lasting from bar 33 to 41.
A short sequential passage ensues, based on the quaver motif from this
theme and leading to further conversation between strings and woodwind
(bars 4548), accenting tonic and dominant before fnally coming to
rest on the dominant in bar 52 with an imperfect cadence, rather than
actually modulating to the new key.
Bars 5288
The second subject affords the woodwind another key role as strings
provide the accompaniment to this opening exchange between fute
and oboe:

I Ex.6
Ensure that all text above and below the excerpt is included
Enter as one complete excerpt
p
Ob.1

53

Fl.1
p

Use of syncopation

sf

sf

Notice the rising fourth a link to the frst subject and the staccato
arpeggio in the accompaniment a reminder of the last full bar of the
frst subject. From bar 65, the use of the syncopation frst heard in bars
5758 helps to give rhythmic drive to this section.
This theme is then restated with the violins taking the lead, answered
by fute and oboe. The use of diminished seventh chords (Bdim
7
in bar
65 and G#dim
7
) and further sforzandi add to the dramatic nature of this
passage. A cadence into G major (frst inversion) in bars 6869 heralds
the entry of a further idea:

34
I Ex.5
Include all text
Enter as one complete excerpt ro as two separate lines and, if doing it that way, crop the
second line after the rest sign.
Vl.1
Vl.2 8ve basso

sf

Fl.1,2
Cl.1,2
Fg.1

sf

sf

sf

Key terms
Tonic pedal: a sustained or repeated
note on the tonic, over which the
harmony changes. Here, the pedal
note is played as repeated quavers.
Syncopation: shifting the emphasis
onto a note or beat that would
normally be weak.
Diminished seventh: a diminished
seventh chord is built up of minor
thirds.
Bdim
7
: the diminished seventh chord
built on B:

KT11
Reduce as much as needed; consider adjusting
horizontally as well as pro rata via the
corner adjustment

Did you know?
The diminished seventh consists
of two interlocking tritones. Saint-
Sens uses this interval between the
top two strings of the violin (A to
Eb) in the introduction to his Danse
Macabre rather than a perfect ffth
(A to E).
24
AS Unit 1 Infuences on music
Wind instruments emphasise the strong beats (1, 3 and 1) with
crotchets on the frst playing and then played sustained minims for the
restatement. Flutes and oboes double the violins rising quavers, again
underlining the importance of the rising semitone.
An extension of the second subjects opening phrase in bars 73 and 74
leads to a perfect cadence in G major and a modulating bass melody,
also based on the second subject, descending for more than an octave
to the darkness of a low F, while the oboe sings a simple but plaintive
melody above (bars 7988). This use of the oboe, utilising its ability to
sustain notes and be heard through the texture, becomes very much a
characteristic of Beethovens writing.
In bars 7488, the music modulates initially in consecutive bars from
G major, by fattening the B to produce G minor and then moving to
chords of C minor and F
7
to effect a modulation to Bb major. From this
point, the bass rises chromatically through C minor and F major to D
7

(bar 82) and on to G minor (bar 83) and then, via a chord which can be
seen as an A minor chord with a diminished ffth (ACEbG) or as C
minor with an added sixth, to A
7
(frst inversion) and on to D (bar 85),
which in turn leads to E minor (an interrupted cadence) before a II
7
b
V
7
I cadence restores G major (8788).
Codetta, bars 88109
At this point, the main theme of the exposition returns to be used as the
basis of the frst part of the codetta in bars 88100. A fnal cadential
phrase ushers in the end of the exposition and is followed by a delightful
wind phrase which forms the link to the repeat and, on the second time,
to the development section. Here, the woodwind instruments play in
octaves over a G pedal in the horns.
_
Ex.1 7addit
77
- -
Ob.1
p
,

, ,
,
,

_
Vc.
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I Ex. 7
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69
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25
Chapter 2 Set work Beethoven: Symphony No. 1
The cadential phrase:
Notice how Beethoven takes his initial six-beat phrase and shortens it to
just four beats, thus increasing the drive of the music.
The wind fgure (bars 106109) is a slowly descending dominant-seventh
arpeggio with decreasing dynamics in preparation for the p return of the
frst subject (exposition).
The same phrase is used to link the exposition to the development,
though the use of the dominant seventh in C major does not, this
time, lead to that key. Instead, there is a sudden f and the chord moves
unexpectedly to A major (frst inversion) in bar 110 (a tertiary shift) to
herald the start of the development section.
Development: bars 110177
Bars 110136
Sections of the development show the fruits of Beethovens studies on
counterpoint with his teacher Albrechstberger. However, it starts with
a direct reference to the frst subject, though this is combined with the
syncopated rhythm from the second:
This combination of ideas dominates the frst section of the
development, moving through a cycle of ffths from A to D (bars
114ff), to G (bars 118ff) and fnally to C minor (bar 122). At this point,
it is the turn of the rising fgure from the end of the frst subject to
become the focus of various modulations. The staccato crotchet fgure is
passed around the orchestra, notably contrasting string and woodwind
timbres. C minor gives way to F minor (bar 126) and to Bb major at bar
130. A further change takes place now as the rising fgure is answered
by a balancing falling one, encompassing Eb major (bar 132) and minor
(bar 134) before coming to a half-close on Bb major, the dominant of the
current tonality (bar 136).
Bars 136160
A motif from the transition or bridge passage, frst heard in bar 45, is
next to be used. Beethoven now uses this scalic motif to emphasise
Eb major:
_
I Ex.9
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110
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Main motif from 1st subject

p
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Key terms
Tertiary shift: a type of modulation
in which the music resolves not to
the expected key (as in dominant
to tonic), but to a key a third away
from this tonic. In this case, the
chord of G
7
is followed not by the
expected C major but by A major.
Counterpoint: the layering or
interweaving of individual lines or
parts.
Cycle of ffths: a sequence of
modulations where each
successive key is a ffth lower than
the previous one, as in CFBbEb
Ab etc.
26
AS Unit 1 Infuences on music
After two linking bars (152153) from the frst violins based on this
staccato quaver motif, a contrapuntal section follows, combining this
motif with the opening idea of the frst subject and a further extension
of the syncopated idea from the second subject. This allows a dialogue
between strings and woodwind in bars 144160, with the opening
passage being typical:
Starting from this Eb major tonality, the music modulates through
F minor (bar 148), G minor (bar 152), D minor (bar 156) and on to
A minor (bar 159), this section coming to a close in bar 160 on E major,
the dominant of A minor, approached by an Italian augmented sixth.
Bars 160177
Beethoven marks this ff, as if underlining the fact that this is most
unusual, occurring as it does at a point in the movement where the
tonality should be returning to the dominant of C major, prior to the
recapitulation. However, A minor and its dominant remain until bar
173, the passage being based on a rising scale passage already a feature
of the slow introduction (bar 7
34
and bar 12
13
) and a presence within
the exposition (see bar 3940 and 7576), but here it follows as an
extension of the opening motif of the frst subject:

I Ex.12
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ff
Strings
in octaves

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Key terms
Augmented sixth: this chord is
formed by taking the sixth note of
the scale, fattening it, and adding
a major third and an augmented
sixth above it (as shown below).
There are, in fact, three types of
augmented sixth: Italian, French
and German. The Italian also adds
a fourth, the German a ffth. So, in
C major:

KT15(r)
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and text as possible
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Italian

French

German

27
Chapter 2 Set work Beethoven: Symphony No. 1
Throughout this passage, horns and trumpets sustain a dominant
pedal. Only in bars 174177 does Beethoven effect the return to the
tonic C major: this is done very simply by having futes, frst oboe and
bassoons play a descending dominant-seventh arpeggio in a steady
semibreve pattern, stirring memories of the links at the end of the
exposition. This short phrase, marked p, heralds the arrival of the
recapitulation.
Recapitulation: bars 178259
Bars 178204
The frst subject makes a triumphant return in C major, the melody now
played in octaves by all woodwind and string instruments while the brass
and timpani emphasise the tonic. The restatement on the supertonic is
orchestrated in the same way. However, from bar 188, the chromatically
rising wind chords are substantially extended, fnally cadencing onto the
dominant (G major) in bar 198. Using a simple, rising chromatic scale
and this introductory motif from the frst subject:

I Ex.13
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O.K. to trim immediately after the final note

Beethoven fashions a modulating passage which rises through F major
(bar 190), G major (bar 192), A minor (bar 193), Bb major (bar 194),
C major (bar 195), D minor (bar 196), back to F major (bar 197) and
fnally on to G major again (bar 198) where, over this dominant pedal,
Beethoven fundamentally alters the transition/bridge passage.
Instead of the passage at bars 4552, where there are two basic motifs,
three repeated quavers followed by a falling phrase and also crotchet
chords, Beethoven extends the use of the falling semiquaver phrase used
since bar 189 and adds to it repeated quavers in lower strings, sf minims
and crotchet chords, as in these frst two bars of this passage:
Bars 204230
A two-bar phrase is heard twice before a simple rising and falling staccato
quaver passage (bars 202203) leads to a chromatically decorated G (bars
203204) and a descent to C for the return of the second subject in the
tonic key.
On the return of the second subject on the last beat of bar 205, the
woodwind play their melodic motif in dialogue, further underlining the
important role given to this family of instruments by Beethoven:

WW
Ex.I 13 addit

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sf

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Use such passages within answers
focusing on use of timbre.
Examiners tip
Passages such as this (bars
178204
1
) would be very useful
in an examination question which
requires a comparison between the
exposition and the recapitulation.
Examiners tip
28
AS Unit 1 Infuences on music
Again, the rising, staccato crotchet fgure derived from the last beats of
the frst subject (bars 1617) forms the accompaniment and underlines
the chord sequence IIIV
7
I. The syncopated fgure is then restated
with different orchestration before the second subject is restated from
the last beat of bar 213. On this occasion, the rising staccato crotchets
are harmonised: previously this happened only in bars 6465 of the
exposition, but now such harmonisation takes place in bars 214, 216
and 218.
The recapitulation proceeds in the manner of the expositions bars 6568,
leading, as there, to the dramatic passage of repeated string semiquavers
and loud chords from woodwind and brass (compare bars 222225 with
bars 6972). Contrary-motion scale passages lead to a perfect cadence
into C major (bars 229230).
Bars 230241
This tonality is immediately contradicted by the introduction of Eb,
darkening the key to C minor for a return of the bass melody, frst heard
from bar 77. These passages correspond in length and, relative to their
initial tonality, to the range of keys visited. Here, the music moves to
the chord of F minor and onto Bb dominant seventh for a modulation to
Eb major (the fattened mediant). Again, the timbre of the oboe is used
to telling effect, sustaining a high Bb before descending to repeated Fs.
The softer, more mellow tone of the clarinet answers this from bar 235,
doubled an octave lower by the bassoon in its tenor register.
From bar 234, chords of F minor
7
in frst inversion (or they could be seen
as Ab with an added sixth), Bb and G
7
(frst inversion) lead the music back
to C minor. But this is a section of great tonal unrest and, immediately,
the tonal centre shifts again: a chord of F minor with an added sixth
(or, again, it could be regarded as a diminished chord: DFAbC in
frst inversion) leads to an F# diminished seventh, rising to G
7
. The
chromatic rise continues as the G rises to G# (a diminished seventh) and
on to A minor before chords of II
7
b and V
7
resolve to C major in bar 241.
Bars 241259
From this point until bar 259 the recapitulation corresponds with the
ending of the exposition, using the same codetta material.
Coda: bars 259end
Using a descending dominant-seventh triad in the woodwind
instruments (C
7
) as at the end of the exposition (where, of course, it was
a G
7
chord), Beethoven makes use of a further development of the frst
subject in bars 261
4
263. The C
7
is also heard over a sustained C pedal
in the horns and trumpets (bars 261263), with timpani playing two
detached Cs, the whole phrase cadencing onto F major:

I Ex.14
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Fl.1, Cl.1 8ve basso

Ob.1, Fg.1 8ve basso










29
Chapter 2 Set work Beethoven: Symphony No. 1
Notice the echo in the lower strings. Beethoven repeats this passage
sequentially, using A
7
to modulate to D minor by bar 267. One further use
of this idea effects a return to C major (bar 271). From this point, all but
the lower strings (violas, cellos and double basses) play on the beat, using
the progression CFGG#dim
7
to modulate to A minor (bar 273) before
enforcing this key change with the progression FGG#dim
7
Am in bars
273275. A repeat of the chord of F in the second half of bar 275 suggests
a further repetition, but Beethoven continues this time with a cadential
64 into C major (bars 276277), thus regaining the tonic.
From this point, the only chord we hear is this tonic chord, an extended
blaze of C major triumph. Initially, Beethoven uses sustained chords and
the main frst subject theme, altering just one note to transform the end
of it into a tonic triad (compare bars 1617 with bars 279280). From
bar 277, the highest note of the sustained chord (fute 1) rises at each
occurrence, frst to E and then to G. From bar 288 to 293, the rising and
falling triad of C major is heard in octave crotchets, with some imitation
in the horns and trumpets and a C pedal in the timpani. Notice the use of
tremolo in some of the string parts from bar 277 as well as the use of sf and
ff, underlining the sense of climax.
The movement ends emphatically with fve crotchet chords of C major.
Things to do 4
1
Summarise the form of this frst movement.
2
Make a chart of the different themes and motifs which Beethoven uses in
this movement; give each a name or reference letter and note the key of
each appearance.
3
Plot a diagram to show Beethovens use of keys and key relationships: relate
each key to the prevailing tonic.
4
Comment on the ways in which Beethoven has varied his musical ideas
within the development section.
5
Compare the recapitulation with the exposition, pointing out similarities
and differences.
6
Comment critically upon Beethovens use of texture and timbre in this frst
movement. (Note: this exercise can be done for any of the other elements
of music as well.)
Looking at the second movement Andante cantabile
con moto
The second movement of this symphony is also in sonata form. Unusually,
Beethoven marks that there be only one fute for this movement.
Exposition: bars 164
Bars 126
The time signature for this movement is 3/8 and the frst subject starts
with an anacrusis. As was the case with the frst subject of the opening

I Ex.15
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p
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261

Vla.8ve
Vc., B

Key terms
Cadential 64: the use in a cadence
of chord I in second inversion
followed by chord V:
Tremolo or tremolando: the rapid
reiteration of a note (or the
rapid alternation of two different
pitches) designated by one or more
lines drawn through the stem of
the note affected. The effect is
much used in orchestral music, for
sustained, emphatic passages or to
create an agitated effect:

Ic
KT17
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KT18
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Written

Played

Key term
Anacrusis: this is where one or more
unstressed notes is heard before
the main frst beat and frst full
bar; sometimes referred to as an
upbeat.
30
AS Unit 1 Infuences on music
movement, it is based on the tonic triad, this time the chord of F major,
as the movement is in the subdominant, and is played by second violins,
unaccompanied:
From the bars that follow, it is obvious that Beethoven frst envisaged
this as a fugal theme, with a subsequent tonal entry in violas and
cellos (bar 6), a false entry in bassoons and double basses (bar 10)
and a fourth full, real entry in the frst violins, futes and frst oboe
(bar 12). After an imperfect cadence in bars 1819, horns maintain
a dominant pedal as the harmony above alternates between F and C,
with regular use of sf, and the phrase ends on the dominant in bars
2526.
Bars 2653
Although the previous phrase has simply ended on the dominant
chord, Beethoven takes this as meaning that the dominant key has
been reached, and the second subject follows without further ado from
bar 26 in the dominant key:
Notice the initial passing modulation to D minor before the
sequential return to C major and the extra colour added by bassoons
(from bar 31) and horns (from bar 33), closing on its dominant in
bar 34. A decorated restatement begins at bar 34, with the theme in
the fute and oboe and decoration in the frst violins. Instead of the
dotted rhythm of the second bar of this subject, there is now some
chromatic decoration of the A (bar 36) and G (bar 38). A perfect
cadence in C (bars 4142) leads straight into a new dotted rhythm
idea, modulating from C to A minor and to D minor before returning
to C major:
Oboes and bassoons instigate an apparent restatement of this theme
(bar 46) before a rising chromatic sequence ensues (bars 4952) and
the music cadences back into C major (the dominant) in bars 5253.

II Ex.2
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Vl.I
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II Ex.1
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II Ex.3
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Vl.1
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Key terms
fugue/fugal: a fugue is a contrapuntal
composition based on a main theme,
or subject. The frst section in a fugue
is the exposition. During this, the
fugue theme enters initially in the
tonic key, invariably unaccompanied,
and subsequently usually alternates
between dominant and tonic. If the
second (i.e. dominant) entry is an
exact transposition to this key, it is
referred to as a real answer; if the
fugue subject has been altered at
all to keep it in the tonic key, it is a
tonal answer. This is the case here
in the second movement. From this
point, these initial entries would
normally lead to episodes, based
on motifs from the fugue subject,
and middle and fnal entries. For
further information, see pp 4647.
A false entry is an incomplete
statement.
Bars 5364
A further new theme ensues, notable for the quietly persistent rhythm on
the timpani, utilising the fact that the timpani are tuned to C and G to
underpin this fnal section, or codetta. The Gs, simultaneously sustained
in the trumpets, form a long dominant pedal, over which the staccato
triplet semiquaver fgure, frst heard in bar 45, is now used extensively. The
accompanying chords, alternating between strings and wind, set up a two-
beat rhythm against the three-beat phrasing of the melodic line (futes and
frst violins).
The fnal cadence harks back to the rising fourth that opened this movement
and leads either to the repeat of the exposition or on into the development.
Development: bars 64101
A rising triad of C minor suddenly darkens the movements mood. The use
of the distinctive tone of the oboes to build the chords adds a melancholy
feel to this section. Beethoven contrasts the colour of the different woodwind
instruments throughout the next seventeen bars (6681.) At bar 68, the
harmony shifts to an Ab dominant seventh, and the music cadences into Db
major at bar 71. This is the fat supertonic of C major and, as such, is an
unusual key to move to.
Beethoven uses the dotted rhythm used earlier as a pedal in the timpani,
now fully harmonised as chords and V
7
b in Db major. This is orchestrated
for strings and second bassoon and is pitched quite low, contrasting with the
rising intervals in fute, frst oboe and frst bassoon. These rising intervals
are derived from the movements opening fourth, but here are varied and
emphasise the dominant seventh and major sixth at frst (bars 7279).
Notice also his characteristic use of sfp on the frst beat of each bar of the
accompaniment in this section. The return to the chord of C major at bar 81
is achieved using an Italian augmented sixth (DbFB) in the previous bar.
Timpani now continue the dotted rhythm on C for eight bars, contrasting
dynamics between p and f, as the music cadences onto chords of F minor
and C major respectively:
Again, the different colours of the wind instruments are well exploited
31
Chapter 2 Set work Beethoven: Symphony No. 1

II Ex.5
Include the bar number (82) and the dynamics (p & f); trim at the end of the
lines in the lower clef
p

82

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Key terms
sfp (sforzandopiano): the note is
accented before the dynamic is
reduced to quiet.

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Fl.8ve.
II Ex.4
N.B. Include instrument names within excerpt.
54
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32
AS Unit 1 Infuences on music
Again the different colours of the wind instruments are well exploited
(bars 8185) before a section of dialogue between strings and wind (bars
8589) leads to the climax of this passage and a crescendo culminating
in chromatic movement over a C (dominant) pedal and a dotted crotchet
chord of V
7
d (the dominant seventh in third inversion) in bar 93.
First violins play a one-bar melodic link to another dominant-seventh
chord for full orchestra with a marked contrast of dynamics. From bar
96, the frst violins continue to play short melodic phrases while the frst
oboe and frst bassoon add notes from the dominant-seventh chord:
This passage provides the link to the recapitulation.
Recapitulation: bars 100162
Bars 100126
The frst subjects entry overlaps the frst violins descending phrase in
bar 100. It is again played by the second violins, but this time the cellos
add a skittish countermelody:
Another difference from the original statement in the exposition is the
addition of a sustained C (tonic) pedal in bars 105106 in the bassoon.
As in the exposition, the entries duly follow a tonal dominant answer in
violas (from bar 106, soon doubled by bassoon) and a tonic entry in oboe
from bar 112, later doubled by fute. Again in this section, the colours
of the wind instruments are fully exploited as they play the fugue subject
and double it at the third or sixth. The music ends on the dominant C in
bar 126.
Bars 126162
The second subject follows immediately, transposed up a perfect fourth
compared with the exposition so that it is now in the tonic key. From
here, the recapitulation follows the exposition until bar 162, save for
some slight changes of instrumentation in the last three bars.
However, instead of ending the phrase with the repeated Fs, Beethoven
treats this as a fresh statement of the frst subject, though re-scored
and with decoration. This is the coda, overlapping from the end of the
recapitulation, just as the beginning of the recapitulation overlapped the
fnal phrase of the development.
Keep your answer focused on the
question. Do not make subjective
comments.
Examiners tip

_
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II Ex.7
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Vl.II
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Crescendo: to get gradually louder.
_
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II Ex.6
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95
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33
Coda: bars 162end
The frst subject returns, with richer scoring and contrary motion in
the oboes in bar 165. This contibutes to the sense that the movement
is reaching its climax. After this the oboes take over the melodic line
from the frst violins and frst bassoon. The violins provide a staccato
semiquaver dominant pedal at the octave until repeated chords of C
in bars 169170 lead to a chromatic rise and a repeat of the second
phrase of the frst subject a tone higher, in G major, with a repeated D
(dominant) pedal (bars 171174).
A further chromatic rise at the end of bar 174 leads to an apparent shift
to Bb major, only for the modulating sequence to be reversed, using
merely the sixth bar of the theme, before cadencing into F major (the
tonic) at bar 182:

175
II Ex.8
Trim as close as possible; include the text
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The dotted rhythm returns in the second violins and violas from this
point, as, over tonic and dominant harmonies, Beethoven uses the rising
quaver fgure and an extended version of bar 3 of the frst subject to form
a cadence fgure:
This phrase is repeated with the addition of a rising scale in the fute
(bars 188190). The fnal bars are light-hearted as Beethoven introduces
an acciaccatura in the strings followed by two quavers in the horns,
before the fute also plays the acciaccatura leading to the fnal forte
perfect cadence in F major and three chords of F major, piano.
Chapter 2 Set work Beethoven: Symphony No. 1

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II Ex.10
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II Ex.9
Include text; trim after final note
Ob.1
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Key term
Acciaccatura: also known as a crush
note: a type of grace note where
the note is literally crushed in and
played in as little time as possible.
It is notated as a
small note with a line
through its stem.

KT23
Trim close to the stave and
after the actual note

34
AS Unit 1 Infuences on music
Things to do 4
1
Listen to the slow movement of Beethovens String Quartet in C minor Op. 18,
No. 4, written in 1800, for an example of a similar theme and an ending on the
dominant taken as the cue to introduce the second subject in that key.
2

Summarise the form of this second movement.
3

Make a chart of the different themes and motifs that Beethoven uses in this
movement; give each a name or reference letter and note the key of each
appearance.
4

Plot a diagram to show Beethovens use of keys and key relationships: relate
each key to the prevailing tonic.
5

Comment on the ways in which Beethoven has varied his musical ideas within
the development section.
6

Compare the recapitulation with the exposition, pointing out similarities and
differences.
7

Comment critically upon Beethovens use of texture and timbre in this second
movement. (Note: this exercise can be done for any of the other elements of
music as well.)
8

Listen to the Linz Symphony by Mozart for an earlier example of using
timpani tuned to C and G in a movement in F major.
35
Chapter 2 Set work: exam-style questions

Examination-style questions
Questions in the examination will relate to Beethovens use of form,
tonality, instrumentation and the other elements of music. One, two
or three elements may be included within the scope of the question.
Alternatively, the question may take the form of a quotation or
statement that would engage you in a more general discussion, perhaps
relating to genre, context or a more general analysis of the use of the
musical elements.
Questions will focus on a movement, a large section of a movement
(such as exposition, development or recapitulation), a comparison of
two sections or, and this is less likely, may involve some comparison
between the two prescribed movements. Therefore, there will be no
questions focusing on very short passages.
You must make sure that you identify the precise meaning of the
question and keep it in mind as you plan and then write your essay.
Keep your comments succinct and try to fnd as many points as you
can, referring to specifc bars, phrases or passages in the symphony to
support and illustrate your answer.
Exam practice question
For example, the essay question might be one of those suggested above
for the frst movement, expressed here in the fuller way it is likely to
appear within the examination paper:
1

Comment critically upon Beethovens use of texture and timbre in the frst
movement of Symphony No. 1 in C major Op. 21.
Key words here are:
Comment critically 4 : this doesnt really mean Write all you can think
of about It is not enough merely to point out where the features
occur this is mere description. You need to comment on what
the use of a particular timbre, combination of timbres or texture
contributes within a context.
texture 4 : you need to refer to each of the different types of texture you
have found, but also remember to explain what each term means.
timbres 4 : here you will refer to use of orchestral families, to the
addition of individual instrumental timbres, to the contrast of
timbres, and so on.
In all cases, you must give precise locations.
A possible approach would be:
to identify the different types of texture found in the frst movement 4
to locate one or two examples of each and comment on them in 4
detail
to summarise the different timbres used by Beethoven in the frst 4
movement
to locate examples of his use of these timbres in different 4
combinations, commenting on their effect.
36
AS Unit 1 Infuences on music
You should now plan your essay by making a list of what you consider
to be the salient points. These might well include the following:
Texture:
homophonic, or chordal/harmonic: parts play different pitches but 4
move in the same rhythm
polyphonic or contrapuntal: parts have different melodic lines and 4
their rhythms are independent, though often related
melody with accompaniment: a melody with accompanying chords 4
which are not in the same rhythm as the melody
octaves: where instruments play the same melody but at different 4
octaves
monophonic: these last two textures; in other words, a melody 4
without accompanying chords or harmonies, and a single-line melody
imitative: where a melodic idea is imitated in another part. 4
Timbres:
classical orchestra: two each of futes, oboes, clarinets, bassoons, 4
horns, trumpets, timpani, plus string sections violins 1 and 2,
violas, cellos and double basses.
Here are some examples of the use of texture:
homophonic texture: bars 14, bars 271276: chordal movement 4
polyphonic: bars 124156: melodic ideas interweave, passed between 4
different instruments and inverted; bars 144159: different melodic
ideas combine and overlap
melody with accompaniment: bars 1316: the main theme/motif 4
accompanied by simple crotchet chords; bars 7788: bass melody
accompanied by repeated chords
octaves: bars 3745 4
1
: various melodic ideas where the interest is
passed from strings to woodwind before both families combine;
from bar 106: the cadential fgure which leads to the repeat of the
exposition or into the development
single-line melody: bars 110 4
4
111: short phrase from the frst subject
played by the frst violins alone, without accompaniment.
Here are some examples of the use of timbre:
use of full orchestra: for emphasis during the slow introduction, on 4
the chords of the dominant (bar 4) and tonic (bars 9 and 11); as
the culmination of a passage of contrasting timbres (bars 4952); to
mark the start of the recapitulation (bars 178181)
wind section: featured from bar 106, given the important role 4
of providing the link to repeat the exposition or lead into the
development
woodwind section: passing the rhythmic germ from the frst 4
subject from bassoon to oboe to fute before all three combine
homophonically (bars 149160); carrying the main melodic idea
of the second subject (bars 52460); providing the link from
development to recapitulation in bars 172177; contrast between
instruments and/or instrumental pairs as in bars 205210
use of brass instruments: within a larger texture (bars 2932); to 4
provide pedal points (bars 7274, 160172); to have some limited
melodic input (horns bars 67 and 8410)
37
Chapter 2 Set work: exam-style questions
use of timpani: to underpin the root of the chords of C (bars 178 4
181) and G (202204); to point cadences (bars 228230)
addition of extra colour: examples might include the oboes piercing 4
tone and ability to sustain a line over movement elsewhere used,
before it is doubled an octave lower by the bassoon in its tenor
register (bars 7984); the addition of futes at various points in bars
100106 to lend their silvery tone to the overall palette and to double
the melodic/cadential motifs at the higher octave; the contrast of
wind and string timbres in bars 162170, with each group having its
own musical fgure
contrast of sustained notes in the woodwind and short, scurrying 4
phrases in the strings, as in bars 188
4
198.
There is enough information here to form the basis of a really good
response to this question, making judicious and precise references to the
score. Be sure to use appropriate musical terminology within your answer.
Do:
keep your answer focused on the question at all times 4
make a list of what needs to be covered 4
get on with the answer as soon as your planning is complete 4
conclude by referring to the question via a brief summary. 4
Do not:
answer the question you wish the examiner had asked 4
simply write down everything you know about the topic referred 4
to within the question and leave it to the examiner to pick out the
relevant facts
repeat the question as an introduction: the examiner has the question 4
in front of him or her
give generalised background information. 4