Symphony No.

7
(1812)

Ludwig van Beethoven

Movement I
Movement II
Movement III
Movement IV

Poco sostenuto Vivace

Allegretto
Presto Assai meno presto
Allegro con brio

Duration

approx. 38 minutes

Orchestration
Woodwind
2 Flutes
2 Oboes
2 Clarinets in A
2 Bassoons

Brass
2 Horns in A
2 Trumpets in D

Percussion
Timpani

Resources
Use your schools copy of the score and CD to complete the suggested activities.

Score Extracts
Extract

Bars

Movement

Extract 1

1-23

Extract 2

63-88

Extract 3

1-98

II

Extract 4

150-165

II

Extract 5

1-240

III

Online Resource

Strings
Violin I
Violin II
Viola
Cello
Double Bass

Background
Beethoven
(1770-1827)
Historically, Beethovens work is built on the conventions, genre, and styles of the
Classical period. Through external circumstances and the force of his own genius he
transformed this heritage and became the source of much that was characteristic of
the Romantic period.
His works include 9 symphonies; 11 overtures; incidental music to plays; a violin
concerto and 5 piano concertos; 16 string quartets; 9 piano trios and other chamber
music; 10 violin sonatas and 5 cello sonatas; 30 large piano sonatas and many sets
of variations for piano; an oratorio; an opera (Fidelio) and two masses (one the Missa solemnis in D);
besides arias, songs and numerous lesser compositions of different types.
Beethovens music can be divided into three periods. The first period to around 1802 was a time when
Beethoven was assimilating the musical language of his time and finding a personal voice. The second
period, in which Beethoven was fiercely independent, runs from 1803 to around 1816. During the last period
of composition after 1816, Beethovens music became more reflective and introspective.
As a symphonic composer Beethoven is renowned for his innovative use of rhythmic and harmonic devices,
expanding the standard instrumentation established by the classical period composers, Haydn and Mozart,
and his exploration of orchestration techniques. His Eroica symphony No 3 is often considered by
musicologists to be the point at which the classical conventions were abandoned for good and the spirit of
Romanticism born. He radically changed every musical form in which he worked and it is to Beethoven that
we owe the full emergence of the symphony as a repository for a composers most important ideas.

Symphony No.7
Beethovens Seventh and Eighth Symphonies were both completed in 1812. Symphony No.7 opens with a
long slow Introduction with remote modulations, leading into an Allegro dominated throughout by the
rhythmic figure:
The second movement, in the parallel minor key of A, was so much applauded at the first performance that it
had to be repeated. This famous Allegretto in A minor features a prominent rhythmic ostinato which endows
this slow movement with a processional aura, imposing a strong unifying character that is felt throughout the
variations of the theme and even the contrasting episodes in the major mode.
The Scherzo in F major emphasises iambic rhythms whereas the closing Allegro con brio exploits a diversity
of rhythmic patterns of bacchanalian frenzy. The Trio of the Scherzo, on the other hand, represents the still
centre of the symphony. Its majestic yet almost static character is conveyed in part by impressive pedal
points on A that resound through extended passages played fortissimo by the trumpets and drum. Despite
this, a suggestion of processional movement is retained. The theme of the Trio is reportedly drawn from an
Austrian pilgrimage hymn.
Perhaps no other composition by Beethoven is so intensely animated and driven by the power of rhythm.

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The premiere of Symphony No.7 in December 1813 marked Beethovens last public appearance as
conductor. His hearing had been failing gradually for years, and by 1813 he could only hear the loudest
sounds. The difficulties became obvious during rehearsal, when Beethoven had to crouch closer and closer
to hear the orchestra as the volume level diminished, gradually returning to his full height when the music
was louder.
The composer Louis Spohr, who was playing violin in the performance, described what happened when
Beethoven, unable to hear the soft passages, conducted through a held pianissimo and got several bars
ahead of the orchestra: (Beethoven) jumped into the air at the point where according to his calculation the
forte ought to begin. When this did not follow his movement he looked about in a startled way, stared at the
orchestra to see it still playing pianissimo and found his bearings only when the long expected forte came
and was visible to him. Fortunately this comical incident did not take place at the performance.
Adapted from an essay by Steven Ledbetter accompanying
Telarc Digital CD recording of the work (CD 80163)
Other sources
The Oxford Dictionary of Music, 2nd Ed, Michael Kennedy, Oxford University Press, 1994
A History of Western Music, 4th Ed, Grout & Palisca, WW Norton & Co, 1988
The New Grove Dictionary of Music & Musicians, 2nd Ed, Macmillan, 2001

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Outcomes/Syllabus links
Symphony No.7 by Beethoven covers the following topics:
Music 1 Course
Music for large ensembles
Music of the 19th century
Music 2 Course
Mandatory topic Preliminary Course: Music 1600-1900
Classical Music
Music of the 19th century
Years 7-10 Elective Music Course
Classical Music
19th century music
Music for large ensembles

Activity
Task 1
Task 3
Task 5
Task 7

Linked to Outcomes
Ideas for assessment
Observes and discusses concepts Score analysis tasks.
of music in works.
Aural dictation.
Analyses and discusses
compositional processes with
Comparison tasks with students
stylistic, historical, cultural and
compositions.
musical considerations.

Task 1
Task 2
Task 6

Discusses, constructively
criticises and evaluates
performances and compositions
of others and self with particular
reference to stylistic features of
the context.

Task 2
Task 4

Confidently performs repertoire

Peer critique.
that reflects the mandatory and
additional topics, both as a soloist Teacher assessment.
and as a member of an ensemble.

Peer critique.
Performance of own/others
compositions.

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Analysis
Movement I
Bar
1-22

CD Cues
0:00-1:26

Features
Slow introduction, Bars 1-62.
Alternating bars of soft and loud dynamics.
Ascending scale patterns lead the harmonic movement.

23-33

1:27-2:05

Dolce melody in oboe in C major.

34-41

2:06-2:34

Scalic passages in strings, accompanied by chords in woodwinds

extend harmonic development.

42-47

2:35-2:56

Flutes state melody in F major.

48-62

2:57-3:49

Violins play melody, developing to bridge section.

Rhythm and melody diminishes to single notes.

63-88

3:50-4:21

Exposition: Vivace.
6/8 time signature.
Subject 1 introduced by flute:

Texture builds quickly from the flutes.

89-100

4:22-4:36

Subject 1 in strings played ff.

101-108

4:37-4:44

Transition section.
Ascending sequences of motives from Subject 1.

109-118

4:45-4:55

Harmonic development of Subject 1 through a range of

modulations.

119-129

4:56-5:09

Subject 2a introduced by flutes and violin I .

130-177

5:10-8:14

Subject 2b in oboes and flutes:

Vivace, Bars 63-177 repeated.

178-277

8:15-10:06

Development of material.

278-450

10:07-13:30

Subject 1 in violin I accompanied by rapid passages in violin II and

viola.
Repeated rhythmic patterns in woodwinds, brass and lower strings.

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Movement II
Bar
1-2

CD Cues
0:00-0:04

Features
Opening chord in woodwinds and brass states A minor tonality.

3-26

0:05-0:47

Melody stated by viola. Cello and double bass accompany in

homophonic style.
Three phrases: first moves from A minor to C minor; second
phrase returns to A minor; third phrase is a pianissimo statement
of the second phrase.

27-50

0:48-1:28

Melody moves to violin II.

Countermelodies in viola and cello.

51-74

1:29-2:11

Melody played by violin I.

More rhythmic accompaniment and broken chord patterns
introduced.
Woodwinds enter at Bar 67, reinforcing harmonic movement.
Dynamics increase as texture thickens.

75-101

2:12-2:59

Fortissimo dynamic.
Timpani enters.
Full woodwind section and horns play the theme, countermelody
in violin I.
Quaver triplet figure introduced by lower strings.
Final phrase returns to quavers in accompaniment.

102-138

3:00-4:05

A major.
Dolce melody in woodwinds.
Triplet accompaniment in violin I.
Much harmonic movement, moving to C major.

139-149

4:06-4:24

Descending C major scalic movement through woodwinds then

strings, followed by fortissimo E major chords.

150-173

4:25-5:05

Return to A minor, for variation of the opening.

Countermelody returns as the dominant line in oboe and flute
with some rhythmic development, alternating quaver and triplet
figures.
Melodic development through passing notes
Primary melody played pizzicato by cellos and double basses.
Third phrase concludes with an A major chord.

174-212

5:06-6:10

Pedal note on A.
Semiquaver pattern emerges in violin II.
Fragments from 2nd phrase of melody drive harmonic movement.
Semiquaver pattern extends to other string parts.
Motivic development suggests fugue, as more instruments are
introduced.
Crescendo as full orchestra enters.

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Bar
213-224

CD Cues
6:11-6:29

Features
Complete melody based on original. Polyphonic strings, remains
in A minor.
Semiquaver scalic accompaniment in woodwinds.

225-242

6:30-7:01

Restatement of dolce melody from Bars 102-116.

243-254

7:02-7:22

Transition to Coda. Alternates between fortissimo A minor and

piano C major ostinato.

255-278

7:23-8:03

Final statement of the original theme in A minor, descending

through the orchestra.

Bar
1-24

CD Cues
0:00-0:22

Features
Scherzo: Section A.
Presto.
F major tonality.
Forte phrases followed by contrasting piano.
Descending scalic melodies.
Harmonised in thirds.
Modulates to A major in second phrase.
Section A repeated.

25-87

0:23-0:50

Scherzo: Section B.
Development around descending semitone figure.
Modulations to G major and F major.

88-152

0:51-2:12

Melody in strings played fortissimo.

Continued harmonic development of original material.
Contrasting dynamics.
Melody doubled in woodwinds and strings.
Section B repeated.

153-183

2:13-2:43

Trio: Section C, D major.

Assai meno presto.
Piano - dolce.
Pedal note on A in violins.
Melody based on descending semitone figure.
Echoes and alternating motives in flute and violins.

184-226

2:44-4:02

Trio: Section D.
Pedal note continues.
Crescendo to fortissimo restatement of dolce melody by strings,
woodwinds and horns. Pedal note in timpani and trumpets.
Section D repeated.

Movement III

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Bar
227-240

CD Cues
4:03-4:17

Features
Bridge section.
Return to F major.

241-288

4:18-4:39

Scherzo: Section A.

289-412

4:40-5:33

Scherzo: Section B.

413-444

5:34-6:04

Trio: Section C.

445-500

6:05-6:59

Trio: Section D.

501-524

7:00-7:10

Scherzo: Section A.

525-644

7:11-8:02

Scherzo: Section B.
Fragments of Trio and Scherzo.

645-657

8:03-8:13

Coda.
Concludes in F major.

Bar
1-4

CD Cues
0:00-0:03

Features
Opening rhythmic figure dominates the movement:

5-37

0:04-0:41

Subject 1 in violins.

38-75

0:42-1:11

Fragments of Subject 1 descend through the strings.

Transition.

76-105

1:12-1:36

Subject 2 in C# minor, descending semitone figure introduced:

106-132

1:37-1:53

Closing section - sharp dissonance between violins and woodwinds.

133-233

1:54-5:18

Development. Subject 1 repeated in full, with repetitions. Motives from

Subject 1 bass part becomes the main rhythm.

234-359

5:19-7:04

Recapitulation.

360-476

7:05-8:30

Coda. Enlarges the episode from Bar 38 and develops the final
fortissimo from the second part of Subject 1.

Movement IV

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Task 1: Musicology/Composition
Movement I
Score Bars 1-23

Listen to Sound Excerpt 1, the slow Introduction of Movement I, while following Score Extract 1.
1.

What is the effect of modulations to keys classified as distant or unrelated?

2.

Discuss the use of scale passages as a means of moving from one key centre to another.

3.

Beginning in the tonic key of A major, construct a chord progression which leads through C major and
F major, then to E major before repeating the progression.

4.

Use scale passages to travel from one chord to the next progression.
Devise a countermelody using sustained notes to match the progression.
Arrange the countermelody and accompanying chord progression for class instruments.

Listen again to Sound Excerpt 1. Compare the devices used by Beethoven with the results of the
composition activity above.

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Task 2: Performance/Composition
Movement I
Score Extract Bars 63-88
1.

The first statement of Subject 1 played by flute is notated below an octave lower than played. Learn
to play the theme on available instruments.

Listen to Sound Excerpt 2 while following Score Extract 2.

2.

Describe the accompaniment used for the theme.

3.

Devise a simple bass line accompaniment to the theme.

Use notes mainly from the tonic triad (AC#E).

Include dynamics to provide contrast and variety.
Use some of the following rhythmic motives from the Exposition.

4.

Perform the theme with accompaniment.

5.

(a)
(b)
(c)

Compose a short melody for an instrument of your choice using 6/8 rhythmic patterns.
Devise an accompaniment that reflects a rhythmic balance.
Perform the melody with accompaniment.

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Task 3: Aural/Musicology
Movement II
Score Bars 1-98

Listen to Sound Excerpt 3 without following Score Extract 3 and answer the questions below.
1.

The main theme is introduced by the violas in Bars 3-26.

(a)

Describe the melody.

(b)

How many phrases are there in the melody?

2.

Describe the texture of Bars 3-26.

3.

(a)

How many times is the theme stated in Sound Excerpt 3?

(b)

List the instruments in the order they enter with the theme after the woodwind/brass chord.

Refer to Score Extract 3 and answer the following questions.

4.

5.

6.

(a)

Analyse the chords of the first two phrases of the theme. Include the inversion as well as
quality.

(b)

What is the key of Sound Excerpt 3?

(a)

Transcribe the theme played by the viola, Bars 3-26, to the treble clef.

(b)

Transpose the theme to E minor.

Discuss how Beethoven uses rhythmic development and texture to create interest in Sound
Excerpt 3.

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Task 4: Performance
Movement II
Score Bars 1-98

1.

Perform Bars 1-74 from the opening of Movement II on available instruments.

Allocate the parts to available instruments.

Transpose parts where necessary.

2.

(a)

Observe the increase in layers with each repetition.

(b)

Observe the placement of the melody, countermelody and accompaniment figures with each
repetition.

Task 5: Aural/Musicology
Movement II
Score Bars 150-165

Listen to Sound Excerpt 4 while following Score Extract 4 and answer the following questions.
1.

Which instruments play the main melody and countermelody?

2.

Discuss Beethovens use of rhythmic and melodic variation in the flute part.

3.

What is the key of Sound Excerpt 4?

4.

Apart from the tonality, are there any harmonic differences to the original statement of the melody in
Bars 3-18?

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Task 6: Composition/Performance
Movement II

1.

(a)

Compose a 16 bar melody for instrument(s) of your choice using the rhythm pattern below.

Use:

A minor

Mostly stepwise movement

2.

(b)

Add an accompanying part.

(c)

Perform the melody with the accompaniment.

(a)

Devise a melody for instrument(s) of your choice using the following bass line:

(b)

Arrange the melody and accompaniment for a small group of instruments.

(c)

Use variation to extend the arrangement.

(d)

Alter the original melody by contrasting major and minor tonalities.

(e)

Introduce instruments gradually over a series of repetitions of the original melodic idea.

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Task 7: Aural/Musicology
Movement III
Score Bars 1-240

Listen to Sound Excerpt 5, the first statements of the Scherzo and Trio, while following Score Extract 5.
1.

Identify and label examples of the following features on Score Extract 5:

2.

time signature
melody based on descending scale passages
use of sequences
featured descending semitone figure
doubling of melody
harmonisation of melody using thirds
harmonisation of melody using contrary motion scales
harmonisation of melody using pedal points or imitations of melodic material
use of pivot chord for movement between F major or D major sections

The overall structure of Movement III may be summarised as:

Scherzo
AABB

Trio
CCDD

Scherzo
AAB

Trio
CCDD

Scherzo
AB

Coda
C (fragment)

Discuss the similarities and differences between this Movement and standard Minuet and Trio
movements from other symphonies by Haydn, Brahms and Prokoffiev.

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Answers
Musicology/Composition
Page 42
1.

For example: creates harmonic movement; propels the music forward (trying to find the home key).

2.

For example: adding accidentals within the scale introduces the new key.

Performance/Composition
Page 46
2.

Accompaniment includes: pedal points; unison ostinatos in strings; use of thirds doubling the melody
at times.

Aural/Musicology
Page 50
1.

(a)
(b)

Simple pattern of four bars of crotchet and quaver rhythm repeated; use of repeated notes;
stepwise movement.
There are three phrases in the main melody. Each phrase is 8 bars long.

2.

The texture is homophonic.

3.

(a)
(b)

There are four statements.

Viola; violin II; violin I; horns/woodwinds

4.

(b)

A minor.

6.

Rhythmic development: simple crotchet and quavers in opening, gradually introducing ornaments
and semiquavers. Triplets added at Bar 75, creating tension.
Texture: opening is homophonic, changes to polyphonic with the introduction of countermelodies.
Staggered entry ascends from the lower strings throughout the orchestra.

Aural/Musicology
Page 56
1.

The cellos and double basses play the melody. The flute, oboe and bassoon play the
countermelody.

2.

For example: addition of ornaments, triplets, repeated notes, chromatic passing notes.

3.

E minor.

4.

The harmonic movement is the same.

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