Beethoven's 3rd symphony, movement 3.

[Enrique]

This is how it begins.



If you guys have patience, I will show you how it can, in three steps, transform into the first theme of Mozart's 40th, last movement. I am sure no one will fail to mentally follow the notes. Too optimistic?

[AeolianHarp]

This is how it begins.



If you guys have patience, I will show you how it can, in three steps, transform into the first theme of Mozart's 40th, last movement. I am sure no one will fail to mentally follow the notes. Too optimistic?

You are indeed in my case Enrique- I am pants at sightreading notes.

[Enrique]

Oh no, the thread is not about reading music, but anyone who remembers (or is just listening to the music) will clearly associate each note on the staff with one in his head, I'm quite confident you too, Aeolian. Well then, look at this:



What happened? We transposed one fifth above (plus an octave, really), which means it sounds the same as before, only the pitch is higher. Now it has a more familiar look (G clef), and by the way now it's written in the same key used by Mozart. Adieu.

[Enrique]

And the last two stages:





Having added the articulation, the last one is none other than the first three bars in the finale of Mozar's symphony in G minor, and the process is graphically understandable. Hope I've not being boring too much people!

[Sorrano]

Enrique, this looks more to me like the beginning of the 3rd movement of the 5th Symphony.

[Enrique]

And you're certainly right, Sorrano. In both of them there is tragedy, but Beethoven did something extraordinary with it. It's always impresive to hear the bass strings emerging from the orchestra (I work for the New York Times). And then the horns, once with the fourth interval and the second with the fifth. I wonder why he did this.