Page:Beethoven's Ninth Symphony (Grove).djvu/15

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from the suppression of the "third," and the secret manner of their entrance. Each consists of the intervals of a common chord descending through a couple of octaves. This is even more apparent when the prologue is repeated in the key and on the chord of D, as it is shortly after the conclusion of the last extract.

${ \override Score.TimeSignature #'stencil = ##f \tempo "No. 3." \time 2/4 \key d \minor \partial 32 \relative d'' { d32 | a4 r8 r16. a32 | d,4 } }$

&c.

This time, however (to proceed with our analysis), the great subject-passage is given in B-flat,—

${ \override Score.TimeSignature #'stencil = ##f \key d \minor \tempo "No. 4." \time 2/4 \partial 32 \relative b'' { bes32\ff | f4 ~ f8.. d32 | bes8.. f32 d8. f32 d | bes4 } }$

perhaps as a remote preparation for the entrance of the "second subject" in that key. And then we have an indication (ut ex ungue leonem) —

${ \override Score.TimeSignature #'stencil = ##f \time 2/4 \key d \minor \tempo "No. 5." \partial 8. \relative f'' { f16[ ees d] | bes'8^\sf } }$

of what Beethoven intends to do with the rhythm and intervals of the semiquavers which are contained