thm coloring the first movement of
the pianoforte concerto in G major:

[Music illustration]

Symphony, concerto, and sonata, as the sketch-books of the master
show, were in process of creation at the same time.

[Sidenote: _His Seventh Symphony._]

Thus far we have been helped in identifying a melody and studying
relationships by the rhythmical structure of a single motive. The
demonstration might be extended on the same line into Beethoven's
symphony in A major, in which the external sign of the poetical idea
which underlies the whole work is also rhythmic--so markedly so that
Wagner characterized it most happily and truthfully when he said that
it was "the apotheosis of the dance." Here it is the dactyl, [dactyl
symbol], which in one variation, or another, clings to us almost as
persistently as in Hood's "Bridge of Sighs:"

"One more unfortunate
Weary of breath,
Rashly importunate,
Gone to her death."

[Sidenote: _Use of a dactylic figure._]

We hear it lightly tripping in the first movement:

[Music illustration] and [Music illustration];

gentle, sedate, tender, measured, through its combination with a
spondee in the second:

[Music illustration];

cheerily, merrily, jocosely happy in the Scherzo:

[Music illustration];

hymn-like in the Trio:

[Music illustration]

and wildly bacchanalian when subjected to trochaic abbreviation in the
Finale:

[Music illustration]

[Sidenote: _Intervallic characteristics._]

Intervallic characteristics may place the badge of relationship upon
melodies as distinctly as rhythmic. There is no more perfect
illustration of this than that afforded by Beethoven's Ninth Symphony.
Speaking of the subject of its finale, Sir George Grove says:

"And note--while listening to the simple tune itself, before
the variations begin--how _very_ simple it is; the plain
diatonic scale, not a single chromatic interval, and out of
fifty-six notes only three not consecutive."[A]

[Sidenote: _The melodies in Beethoven's Ninth Symphony._]

Earlier in the same work, while combating a statement by Lenz that the
resemblance between the second subject of the first movement and the
choral melody is a "thematic reference of the most striking
importance, vindicating the unity of the entire work, and placing the
whole in a perfectly new light," Sir George says:

"It is, however, very remarkable that so many of the
melodies in the Sy