CONNOR_STRAUSS_H&C3_FINAL

Connor Strauss
Professor Dalton
Harmony & Counterpoint 3
December 11, 2024
Final Project
One of the most defining characteristics of Beethoven’s compositional style is his

approach to writing a melody. Specifically, the way in which he utilizes motifs, developing and
evolving them as the piece goes on. It’s something that can be heard in many of his works, a
prominent example being his third and seventh symphonies. These motifs are short, distinct
phrases that re-appear many times throughout the piece. These are easily identifiable to a
listener, regardless of their musical prowess because of the familiar rhythmic content they heard
established earlier. Throughout his works, Beethoven has played with the idea of developing a
motif in many ways, whether that be by altering it melodically, by removing notes from the
figure until it is barely recognizable, etc. This compositional technique is especially prevalent in
one of his early string quartets. Written just before the turn of the eighteenth century, the first
movement of Beethoven’s first string quartet is a great example of how he employs this
technique in his compositions, and would foreshadow a technique that we later hear used in
many of his works. The goal of this paper is identify what tools Beethoven uses to develop a
motif.
In the very first measure, the six note motif is played for the first time. He writes in unison with
all four voices, so that it is especially clear for the listener that this is the base for which he will
develop on. The motif is played multiple times, unchanged until measure 13.
Ex. 1. Beethoven, String Quartet Op. 18 no. 1, mm. 13-17
In example 1, Beethoven uses sequencing, the practice of repeating the same phrase but at a
higher or lower pitch. This adds a sense of growing intensity and sense of direction to the music.
What this in turn adds to the music is it also changes the key we are in each measure, as there is a
A major chord in mm. 14. G major at mm. 15 and so on. Following this, Beethoven further
demonstrates how more complex harmonic ideas can be derived from the original motif. Starting
in measure 21.
Ex. 2. Beethoven, String Quartet no. 1, mm. 21-25
In example 2, the first and second violins alternate between playing the same motif still
following the original intervallic shape that it had at the beginning. They do so in a call and
response, and each time switching to a different note the figure starts on. In the bars following
this, the first violin can be heard playing this same figure going up a scale degree each time, until
it cadences on the tonic pitch, F. What this does is change the key corresponding to the new scale
degree in each measure, until reaching F, Introducing us to another tool he is using to develop
more complex harmonic ideas from the original motif. Shortly after, in mm. 30, this imitation of
the voices from earlier is used again, but with now the spacing being much closer.
This makes it closer to a canon since there is overlap within the voices. Having the cello and first
violin parts intersect like this adds a new layer of complexity without changing the individual
harmonic content. Instead, combine the two to make something new. This presents the original
motif unchanged in cello, but accompanied by a melodically similar, but rhythmically different
violin. What Beethoven does with the first violin part here is very interesting because it is very
much an accompanimental part to the cello but it does so in a manner that it is still rhythmically
reminiscent of the original motif. At this point, there still isn’t a lot of alteration. It wasn’t even
until now that the motif’s rhythm changes at all, and this is on purpose. The rate in which the
motif is evolved is slow because it makes it easier to understand what Beethoven is doing.
At rehearsal B, the original motif is brought back, and we have now gone from F major to C. In
addition to this, in this section Beethoven is now taking more liberties in how free he can be
from straying from the motif than before.
A perfect example of this is here in measure 102. In the first violin, Beethoven brings back the
motif and alters it in ways he hadn't before (by adding more notes and trills). He is no longer
following the rigid structure of only what can be done from slightly modifying the six note
theme, and mostly using quarter notes. What is added now is ornamentations. He does this by
writing sixteenth note runs and repeated tied eighth notes, which gives the music a new found
sense of direction and urgency, compared to its slower figure from before. Beethoven now feels
that he has confidently defined and expanded on the motif and is at a place now musically, where
it can become more complex. Both melodically and rhythmically speaking. At measure 115
marks a new section in what could be characterized as “agitato”. Here, one thing that is
important to note is the way in which this motif is utilized harmonically has fundamentally
changed. Whereas at the beginning of movement it would always cadence on the sixth note, now,
the last note leads to the next phrase.
Example 5 shows that instead of the motif meaning the end of a phrase, Beethoven can now
follow one motif with another and have them be a part of a larger phrase. There were past
moments in the movement where the motif can be heard in consecutive measures but there they
still weren’t part of larger phrases, they all resolved on the last note. At F however, they come
together to make a larger multi-bar phrase. Each 6th note of the motif here leads to the next.
From measure 136 to the end, the way Beethoven does motivic development changes. Instead of
how he had always been altering them up to this point, by adding additional aspects, he instead
starts taking things away from the motif. By now, the listener has heard the motif so many times
and different variants of it that it would still be recognizable to their ear if you started reducing it.
Example 6 shows that yes, the original motif is still there (mm. 284 & 285) but the area of focus
is the tied 16th notes. Its the original motif but instead stripped of the 4th, 5th and 6th notes. This
same exact thing can be heard in the closing 4 measures. These stripped down motifs show how
even when you take away half the notes from the motif, the listener can tell what it came from
because it still possesses the most recognizable part. The sixteenth notes that have been apart of
the motif since the first measure.
The goal of this style of composition is to show how one can build musical complexity from one
simple phrase. It’s working within restraint in a way. This is something that contemporary
composers still experiment with to this day, but in much different ways then what Beethoven is
doing here. Beethoven shows us that much larger harmonic ideas can be derived from a singular
idea using many different tools. Progressing very slowly the whole time, he does this by once at
a time, altering different things. What note it's starting on, modulating to another key, the
intervals between the notes, changing the melodic shape, canonizing, etc. By developing upon
the same motif it creates an interesting narrative for the listener to follow, forms a cohesive work,
and fits perfectly into the sonata form of the movement.

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Connor Strauss

One of the most defining characteristics of Beethoven’s compositional style is his

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