and wildly bacchanalian when subjected to trochaic abbreviation in the
Finale:

[Music illustration]

[Sidenote: _Intervallic characteristics._]

Intervallic characteristics may place the badge of relationship upon
melodies as distinctly as rhythmic. There is no more perfect
illustration of this than that afforded by Beethoven's Ninth Symphony.
Speaking of the subject of its finale, Sir George Grove says:

"And note--while listening to the simple tune itself, before
the variations begin--how _very_ simple it is; the plain
diatonic scale, not a single chromatic interval, and out of
fifty-six notes only three not consecutive."[A]

[Sidenote: _The melodies in Beethoven's Ninth Symphony._]

Earlier in the same work, while combating a statement by Lenz that the
resemblance between the second subject of the first movement and the
choral melody is a "thematic reference of the most striking
importance, vindicating the unity of the entire work, and placing the
whole in a perfectly new light," Sir George says:

"It is, however, very remarkable that so many of the
melodies in the Symphony should consist of consecutive
notes, and that in no less than four of them the notes
should run up a portion of the scale and down