An example of how to teach using the Musical Schematics and Beethoven's 5th Symphony Beethoven, Symphony Nº 5 - 1st movement The movement begins announcing the 1st theme (5), in unison, very loud and energetic, repeated twice in a "similar" fashion. Next (4+4), in an ascending manner (that is from the lowest to the highest) the theme is passed from one group of strings to another - 2nd violins, violas, 1st violins - in piano (softly) and repeated once, finishing the phrase with a codetta (small addition) (8) in crescendo (gradually getting louder) that culminates with a prolonged suspended chord. Listen to this section and put the recorder on pause. The section that follows (3+5+4) is a counterstatement of the 1st theme. It appears once in unison, very loudly and then is quotated twice by the strings in piano and in a descending manner - 1st violin, 2nd violin, viola, violoncello and double basses- , and links without resolving to the episode-bridge. This bridge (25) is composed of a small, modulating thematic discussion that leads us toward the second theme. It starts piano and gradually grows in volume (crescendo) until reaching a climax of strident exhaltation brought forth deliberately by the French Horns (4). Listen to this section and put the recorder on pause. After the presentation of the vigorous first theme, with its rhythmic insistence, Beethoven calms the atmosphere with the caressing and melodic second theme. The phrase is made up of two asymmetrical parts: an antecedent and a consequential. The antecedent (4+4+4) is played three times, seemingly equal, but not: it would be unthinkable even for a mediocre composer, let alone Beethoven. The first time through, the theme isplayed by the strings; but if you listen a little more closely you will hear a clarinet join in the second time through and lastly a flute so that each repetition is coloured by these timbric paintbrushes. The consequential (4+4) closes the phrase using a melodic design of repetition by imitation. Listen to this section and put the recorder on pause. Before going through the transition, look at the schematic and see that this second theme is accompanied by the first in its rhythmic formula. Put back the CD and listen again to this phrase paying special attention to the basses. The transition, as its name indicates, is a passing zone among other important things. Beethoven takes the last few notes of the previous consequential design and repeats it nothing less than five times. This passage, however, is not just in passing: it is exciting. Why? Well because the basses keep playing theme one in a chromatically ascending manner while growing louder which produces a feeling of expected anxiety as to where is all of this this leading. Listen to this section twice: the first time through follow the high part (violins) and the second time through listen to the low voices (basses). Pause. As we expected, the anterior transition took us to the complementary motif (8+8). The phrase is made up of eight bars which are repeated in a similar way, with slight ornamentation at the beginning of each, for variation. Listen to this section and put the recorder on pause. The conclusive period is brief and powerful: Theme one is heard twice in a descending succession (4+5), and two more cadential affirmations(2+2). Beethoven was conscious that this would leave us with our heart in our throat so he prolonged the moment with two more bars of silence as if to give us a moment to catch our breath before making the repeat (indicated by the two dots with the barline behind them), or going on to the development section. Listen to this section and put the recorder on pause. Having gone through this first phase of study, try listening to the repetition without pausing, following the bars strip on the schematic. Let the music take you away… Your enjoyment will tell you if things are going well or not. I hope everything goes well! November 1999 Jesús Sanz Arribas Jesús Sanz Arribas: jesussanzarribas@hotmail.com