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DO NOT COPY THIS AND TURN IT IN AS YOUR OWN WORK.

THAT IS PLAGIARISM.
PLAGIARISM IS BAD.
Beethoven Symphony 1 Mvt. I
The first movement of Beethovens 1st Symphony starts with a delicately
maneuvered introduction. The mm. 1-3 consist of a series of half-note
cadences, none of which include the tonic. This, along with a lack of clearly
defined meter, fosters an element of suspense, as no identifiable theme or
melody has been introduced. It is of note that the winds carry the chord
while the strings support with pizzicato during these measures. The strings
typically carry melodies (especially during the time period); Beethoven may
have given them to the winds so that a listener accustomed to symphonic
music would immediately be interested by the difference from the usual
textures presented, including the use of ambiguous tonality. After a 2-bar
cadence the tonic (C) is introduced in m. 6, but there are still F# and B
neighbor tones in the moving parts, which lead the ear to the dominant. This
adds further suspense by unsettling the stability of the preceding longer
cadence on tonic. The rest of the introduction meanders through the tonic,
dominant, and a few other closely related chords. The focus on cadential
material during the introduction foreshadows the rest of the movements use
of dominant and tonic chords to lead the melodies through tension and
resolution, rather than solely as a means to end a phrase or section. The

build to a cadence at the end of the introduction is then relieved by the start
exposition.
The first theme is prepared by an ascending G major scale in the
strings, then abruptly introduced by a C major scale descending from the G.
This can be seen as definitively establishing the tonal center due to its clear
cadential nature, as well as the change in instrumentation (no winds for the
first few bars of the theme). The first motif (figure 2, m. 12) appears in tonic,
then supertonic, then is elongated when placed in the dominant (mm. 2530). Each presentation of this motif is interceded by the winds with whole
note cadences that lead to the next iteration (mm. 17-18); the relative lack
of motion during such parts creates an intermittent feeling of suspense, as if
to include toned-down elements of the introduction. Following the bold
proclamation of the first motif, a series of simple, bright and almost Haydnesque melodies occurs in the strings and is imitated by the winds; this
configuration extends through the final large half-cadence at the end of the
first theme.
The first major modulation occurs at the second half of the exposition.
The V-I-V-I-V etc. progression during mm. 45-52 at first may appear to be
heavily tonicizing the tonic, which would be heavily redundant. Theme 2,
however, starts after a half-cadence on G with a leap from D to G in the
oboe, which has the effect of definitively tonicizing the dominant (G), which
in this case is used to modulate entirely. The second theme (figure 3) is then
introduced by the winds with light imitation between the oboe and flute. The

satisfyingly predictable scalar nature of this theme contrasts with the


explosive leaps of the first, and has a calming effect on the listener. This is
aided by the immediate reduction of instrumentation, consisting initially of
only 1 major wind and string figure at a time; brass is entirely absent and low
strings have minimal parts. It is essential to note Beethovens use of material
from the fourth bar of the first theme in the accompaniment. The quarter
note arpeggios are imitated between either 1st and 2nd violins or bassoon and
clarinet, which demonstrates his willingness to develop material within the
exposition, unifying the two themes. Mm. 57, 58 and 60 include sforzando
accents on beat 2 in the winds and beat 3 in the strings; this syncopation
and the prevalence of imitation add to the playful mood of this segment.
After the initial presentation of the second theme, it repeats with strings
leading the melody. The syncopated sforzandos then return, but this time on
beat 3 in the winds and beat 4 in the strings. Measures 69-75 provide great
dynamic contrast for this section; the heightened volume is further and
rhythmically intensified by the first use of sixteenth notes since the
presentation of the second theme.
The instrumentation is yet again reduced in an abrupt fashion at m. 77,
which is accompanied with a modulation to G minor. The low strings are then
taken to task, repeating the second theme without any imitative input, this
time beneath a sequence following the circle of fifths through g, c, F, and
arriving at Bb. This appears as a way to recast the preceding material in a
more mellow and even somber tone. An oboe holds an F over two bars which

functions as the tonic (F) and dominant (Bb) tones, then descending to play
quarter notes like the rest of the strings, adding a touch of brightness to the
sound texture. Instead of the harmony resolving from Cmin7 to F to Bb, a

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dramatic twist is involved: the ii7-V deceptive cadence resolves to D 5

(m.

82), which induces half-step motion in the bass to the leading tone of the
relative minor (F to F#). The resolution to root-position G minor causes more
half-step motion (F# to G). These chords and their inversions allow the
double reeds to repeat the oboe figure a minor third down, holding a D

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through the D 5 and the G minor. Measure 88 sees a paraphrasing of the
first theme as a period of stability between prolonged harmonic tension,
allowing the end of the exposition to calmly build to a half-cadence in C.
The development immediately declares a focus on the use of previous
motives, as well as the use of tonality as an element of surprise. The half
cadence ending the previous section (G7) resolves to an A major chord, which
is not closely related to C. This marks a clear departure from the sound of the
exposition in that the tonality is not only used as a vehicle for melody or
motion, but rather is treated as an element on its ownin this case, it is
used to surprise the listener. The second and third bars of the first theme is
then presented as 1st violin soli between tutti sections that are modeled after
the fifth and sixth bars of the second theme (figure 4); the harmonic

progression takes a more predictable turn with a sequence proceeding


through the circle of fifths to land in C minor. The harmony continues through
a sequence of fifths landing in Eb major (mm. 119-132); this time, however,
the melody is borrowed from the ascending quarter-note arpeggio
accompaniment to the second theme.
Beethoven uses the transitional cadence that originally appeared
between the first and second themes in a mostly unchanged state (this time
Bb7 resolving to Eb, mm. 135-142), which marks the first time in the
development section that a tonal center is used for more than four bars. The
combination of more static harmonies with material easily recognizable as
originating from the exposition allows for a feeling of relative stability when
compared to the sequences that dominate the first half of this section of the
form. This only lasts through measure 146, when what at first appeared to be
a strong resolution to Eb devolves into yet another sequence, this time
moving upward by a major second each iteration. What was at first
adventurous and interesting now becomes repetitive (and dare I say it, trite)
and serves only to move along the section through another melody, again
quoting the dotted rhythm of the main theme, but this time twice to a bar. At
the end of the sequence (m. 159), the dotted rhythm is utilized to propel the
strings through eighth note runs in the dominant (E); this alternates with the
winds playing a simple melody in A minor, until eventually the winds take
over the melody entirely. These are both over an E pedal which causes this
final section of the development to function as one big second inversion

cadence. The winds alone hold an E for two bars before moving to an F and
arpeggiating a G7 downward in whole notes, which leads directly into the
recapitulation. While not exactly startling, the use of monophony during mm.
171-176 allows a cadence that is not closely related to the immediately
preceding material to sound ordinary.
The recapitulation blasts off with a strikingly powerful unison on the
first theme in tonic (C). The woodwinds soli during the whole note cadences,
making the contrast even more dramatic than in the exposition. The theme is
only presented in two keys before the descending 16th note run is sequenced
through the circle of fifths. The first theme is significantly shorter than in the
exposition (27 bars as opposed to 40), likely because the material had
already been exposited and developed, so nothing new needed to be
presented. The second theme, starting in measure 205, is placed in C, as a
modulation from such a short first theme would not provide the kind of
stability necessary for the feeling of finality often desired in a recapitulation.
The imitation is shared (rather than divided) between the strings and winds
and gives a slightly different sound than in the exposition, although this may
not be noticeable unless heard live in a concert hall. The coda, starting in
measure 264, quickly quotes the beginning of the development section
before arriving back in C and ending with a typically grand Beethoven ending
cadence, full of punchy hits and tonic and dominant arpeggios.
The first movement of Beethovens 1st symphony makes extensive use
of tonic and dominant sonorities to provide both expected and unexpected

points of tension. The themes are focused more around their tonality rather
than melodic lines, as evidenced by the use of melodic fragments throughout
all sections. While not harmonically adventurous, this movement provides a
stable beginning to a symphony, and makes great use of form as a
framework for harmonic development of easily identifiable motifs.
Appendix
Mm.
1-12
13-53
53108
109176
177204
205259
260end

Material
Introduction
Theme 1
Theme 2
Developme
nt

Key
C
G/g/
G
Eb/a

Theme 1

Theme 2

C/c

Coda

Figure 1.

Figure 2.

Figure 3.

Figure 4.

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