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In Beethoven's Fifth Symphony a four-note figure becomes the most important motif
of the work, extended melodically and harmonically to provide the main theme of the
first movement. About this soundPlay (help�info)
Two note opening motive from Jean Sibelius's Finlandia.[3] About this soundPlay
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Motive from Machaut's Mass, notable for its length of seven notes.[3] About this
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Motive from many of Bach's works including the first movements of the third and
sixth Brandenburg Concertos and the third viol da gamba sonata.[4] About this
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Motive from Ravel's String Quartet, first movement.[4] About this soundPlay
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"Curse" motif from film scores, associated with villains and ominous situations.
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In music, a motif About this sound(pronunciation) (help�info) (also motive) is a
short musical phrase,[5] a salient recurring figure, musical fragment or succession
of notes that has some special importance in or is characteristic of a composition:
"The motive is the smallest structural unit possessing thematic identity".[3]
A harmonic motif is a series of chords defined in the abstract, that is, without
reference to melody or rhythm. A melodic motif is a melodic formula, established
without reference to intervals. A rhythmic motif is the term designating a
characteristic rhythmic formula, an abstraction drawn from the rhythmic values of a
melody.
Any motif may be used to construct complete melodies, themes and pieces. Musical
development uses a distinct musical figure that is subsequently altered, repeated,
or sequenced throughout a piece or section of a piece of music, guaranteeing its
unity. Such motivic development has its roots in the keyboard sonatas of Domenico
Scarlatti and the sonata form of Haydn and Mozart's age. Arguably Beethoven
achieved the highest elaboration of this technique; the famous "fate motif" �the
pattern of three short notes followed by one long one�that opens his Fifth Symphony
and reappears throughout the work in surprising and refreshing permutations is a
classic example.
Hugo Riemann defines a motif as, "the concrete content of a rhythmically basic
time-unit."[9]
Anton Webern defines a motif as, "the smallest independent particle in a musical
idea", which are recognizable through their repetition.[10]
Arnold Schoenberg defines a motif as, "a unit which contains one or more features
of interval and rhythm [whose] presence is maintained in constant use throughout a
piece".[11]