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 Principles of Macroeconomics, 8th Edition - Instructor's Manual - Chapter 2

CHAPTER TWO

Demand and Supply: An

Introduction
Overview Comments
This chapter covers one of the most important subjects in economics. We feel that the
amount of time, effort, and patience put into developing the basic principles of demand and
supply will pay great dividends for students later in the course. Also, unlike some other
approaches, we have deliberately relegated the complexities of multiple curve shifts and
other applications of demand and supply to another chapter.

While most of the material in this chapter is fairly standard, there are three areas which
are treated a little differently from other approaches. First, we introduce the income and
substitution effects early. Since we emphasize that the concept of demand involves both
willingness and ability, it seemed a good opportunity to explain that the reason for the
downward slope of the demand curve is that a lower price means both an increased
willingness (the substitution effect) and ability (the income effect) to purchase. Second,
the chapter moves deliberately and quickly to a discussion of equilibrium rather than first
discussing what causes shifts in the two curves. We think this direct approach is more
helpful for students who usually grasp the concept with little difficulty. Only after we
have explored the idea of equilibrium and the implications of disequilibrium do we look
at the determinants of demand and supply and the effects of their change. Third, we
believe that it short-changes the students to show the results of a change in equilibria
without explaining how the market gets there. Therefore, when we do start curve-shifting
we take great pains to demonstrate just how the market moves, in reaction to surpluses
and shortages, from one equilibrium to another.

Although we don’t personally use algebra to teach demand and supply in our own
classes, we recognize that some instructors find this an effective approach and so we have
added a short Appendix on the algebra of demand and supply.

Suggested Approaches and Helpful Hints

As we mentioned, we think it’s essential to move to equilibrium as quickly as possible so
that students are immediately made aware that the price is determined by both the
demand and the supply. If this is not done you will find that you are moving curves about
in isolation and showing an increase in demand which impacts on nothing: a cause
looking for an effect. We find that students can grasp the concepts of equilibrium,
surpluses and shortages fairly easily so we get them to this point early.

1
 Principles of Macroeconomics, 8th Edition - Instructor's Manual - Chapter 2

Students need to be aware that the price of the product is not always the most important
factor that affects consumer spending. At times, incomes, prices of related products and
so on may have more significance. Yet we put price at the forefront for two reasons.
First, it often is the most important factor. Second, it is the centre of focus for our
analysis because it is the one factor which links producers and consumers and which
influences the actions of both groups.

It is probably useful to point out to students that some of the demand curves in this
chapter are not straight lines. This is because they are plotted from data that is presented
in a table. This helps to emphasize the link between a demand schedule and a demand
curve and reminds us that demand and supply curves are not always linear.

One of the problems that many students have is the obvious one of confusing demand
with quantity demanded (and supply with quantity supplied). The problem is only cured
through repeated practice. It’s a good idea to keep reminding students that the terms
demand and supply do not relate to specific quantities but to whole ranges of prices and
quantities. We find that while they often respond to the concept of demand, they will
sometimes continue to use the term supply as a synonym for production or output.

Another problem for students is that, understandably, they draw on examples where the
firm rather than the market determines the price of the product. Although we briefly
mention in the text that the demand/supply model works best in the context of perfectly
competitive markets, it is a shame to use only examples of commodity markets. Once
students grasp the basics, they are usually eager to put the principles to work analyzing
many different types of markets with which they are familiar, and these include markets
which are anything but competitive and where the producers are usually price makers.
We are hesitant to curb such enthusiasm so early in the game. On the other hand, you
need to tread carefully when dealing with non-competitive markets. Perhaps you could
explain, as we do early in Chapter 3 with the example of the over-priced automobile, that
while the model works exactly as we suggest only in perfectly competitive markets, that
doesn’t mean that it doesn’t have application to other markets.

Answers to Problems for Further Study

1. c, d and e are the circled letters

2. Graph A: increase in demand; increase in quantity supplied

Graph B: increase in supply; increase in quantity demanded

3. a) price down and quantity traded down

b) price up and quantity traded up
c) price down and quantity traded down

2
 Principles of Macroeconomics, 8th Edition - Instructor's Manual - Chapter 2

d) price up and quantity traded up

4. a) supply; increased
b) demand; decreased
c) supply; decreased
d) demand; increased

5. Demand refers to the whole range of quantities that are demanded at various prices as
depicted by a demand schedule or demand curve. The quantity demanded refers to a
particular quantity at a particular price, i.e. it is a point on a demand curve.

6. Shortages cause competitive bidding among buyers of a product. The result will be that
the price will be bid up and will continue to rise until the shortage disappears.

7. Table 2.19 (completed)

D S P Q
a -
b -
c -
d -
e -
f -

8. Change the second sentence to: “The quantity demanded for houses decreases when the
price increases.”

9. The first determinant of market demand is consumer preferences, i.e. the tastes and
fashions of consumer. The second is consumer incomes. For a normal product, higher
incomes leads to a higher demand; on the other hand, for an inferior product higher
incomes lead to a lower demand. The third determinant is the prices of related
products, which include substitute products, and complementary products. The demand
will be higher if the price of a substitute increases or the price of a complement decreases.
The fourth determinant is expectations of the future. The demand will increase if
future prices or incomes are expected to be higher or a future shortage is anticipated.
The final determinant is the population. The market demand for a product may be
affected if there is a change in the size or in the income or age distribution of the
population.

10. An increase in the demand for a product will initially lead to a shortage. As a result
competition among the buyers will cause the price to increase. The effect of an increase
in the price will be a fall in the quantity demanded and an increase in the quantity
supplied. Both factors will help to eliminate the shortage. Eventually both the price and
the quantity traded of the product will have increased.

3
 Principles of Macroeconomics, 8th Edition - Instructor's Manual - Chapter 2

11. Five possible causes are:

 an increases in the price of resources used;
 an increase in business taxes;
 an increase in the price of a substitute in production;
 the expectation of suppliers that there will be higher prices in the future;
 a decrease in the number of suppliers.

Five specific effects (in order) are:

 a shortage;
 a price increases;
 an increase in the quantity supplied;
 a decreases in quantity demanded;
 a decrease in the quantity traded.

12.
S1 S2 (S1 + 5000)
Rental

P1

P2

Q1 Q2
Number of Rental Units

APPENDIX TO CHAPTER TWO

Answers to Problems for Further Study

1. P = 6; Q = 28.

2. a) P = 15; Q = 25.

b) Shortage of 12.

4
 Principles of Macroeconomics, 8th Edition - Instructor's Manual - Chapter 2

c) P = 17; Q = 27.

3. a) Qd = 244 – 4P

b) Qs = –8 + ½ P

c) P = 56; Q = 20

4. a) Qd = 675 – 100P (or P = 6.75 – 0.01Qd).

b) Qs = 50P (or P = 0.02Qs)

c) P = 4.5; Q = 225

5. a) shortage of 60. (Qd = 185; Qs = 125)

b) surplus of 24. (Qd = 164; Qs = 188

6. a) P = 70. (Solve the equation: 380 = 100 + 4P)

b) Qd = 310. (Plug 70 into the demand equation.)

c) Surplus of 70. (Qd = 310 and Qs = 380).

5
 SAYRE // MORRIS

Eighth Edition

CHAPTER 2

Demand and Supply:

an Introduction
Stephen Mullins, St. Clair College

© 2014 McGraw-Hill Ryerson Limited 2-1

 CHAPTER 2

Demand and Supply:

an Introduction

Learning Objectives:
1. Explain the concept of demand
2. Explain the concept of supply
3. Explain the term market
4. Explain the concept of equilibrium

© 2014 McGraw-Hill Ryerson Limited 2-2

 CHAPTER 2

Demand and Supply:

an Introduction

Learning Objectives:
5. Demonstrate the causes and effects of a change in
demand
6. Demonstrate the causes and effects of a change in
supply
7. Explain why demand and supply determine price
and quantity traded

© 2014 McGraw-Hill Ryerson Limited 2-3

 LO1

Demand

Demand
– The quantities that consumers are willing and
able to buy over a period of time at
various prices

© 2014 McGraw-Hill Ryerson Limited 2-4

 LO1

Demand

Demand
– The quantities that consumers are willing and
able to buy over a period of time at
various prices
• Must be willing to purchase it
AND
• Must have ability to pay for it

© 2014 McGraw-Hill Ryerson Limited 2-5

 LO1

Demand

Demand
– The quantities that consumers are willing and
able to buy over a period of time at
various prices

• Measures quantities in a specific time period,

e.g. a week / month / year

© 2014 McGraw-Hill Ryerson Limited 2-6

 LO1

Demand

Demand
– The quantities that consumers are willing and
able to buy over a period of time at
various prices

• Shows relationship between quantity & price

• Price is the most important determinant
– “Ceteris paribus” – all else remains the same

© 2014 McGraw-Hill Ryerson Limited 2-7

 LO1

Demand

Demand Schedule
– A table showing the various quantities
demanded at different prices

Demand Curve
– A graphic representation of a demand
schedule

© 2014 McGraw-Hill Ryerson Limited 2-8

 LO1

Demand Schedule
Price Per Case Quantity Demanded
(cases per month)
$17 7
18 6
19 5
20 4
21 3
22 2

© 2014 McGraw-Hill Ryerson Limited 2-9

Random documents with unrelated
content Scribd suggests to you:
[PNG] [

[PNG] [
FIGURE LVII.

And this highly imaginative method of treating the transitions or

connecting passages is one of the fundamental differences between
the variations of Haydn and Mozart and those of Beethoven "A
priori," [47] says Mr. Hadow, "it would be easy to conjecture that the
variation form is unsatisfactory. It affords little scope for structural
organization, little for episode or adventure, it seems to have no
higher aim than that of telling the same story in the largest possible
number of different words. Indeed, composers before Beethoven are
often in evident straits to maintain its interest." An examination of
any set of variations by an inferior composer will reveal just the
defects Mr. Hadow refers to. But Beethoven not only tells the story in
quite different words, but finds opportunity for all sorts of interesting
episodes and adventures, so that the structural weakness of the
form is quite lost sight of. With him the connecting passages skillfully
avoid too great stress on pure melody—with which the listeners
would otherwise be surfeited—and, at the same time, they never
degenerate into unmeaning passages of empty chords and scales
such as often occurred in the music of Haydn and Mozart.

IV. THE HARMONIC PLAN.

The recurrence in the same key of the theme in the variation form
gives to it a certain monotony of harmonization unless the episodes
are treated with great harmonic freedom. As was pointed out in
Chapter II, harmony sometimes becomes an important element of
structure, particularly in the rondo and variation forms, and in
Haydn's and Mozart's variations the harmonic plan is not sufficiently
varied to provide this much needed contrast. Beethoven, however,
always much more free in the use of modulation than his
predecessors, imparts to these variations almost at the outset great
variety of key, and in all his episodes ranges freely about,
unhampered by limitations. In measure 28, for example, he suddenly
starts towards the key of B-flat minor, only to emerge a moment
later in C-major. The passage, beginning at measure 39, not only
provides that relief from too great insistence on melody which we
have already referred to as characteristic of his episodes, but its
harmonies are purposely vague, leaving us in doubt until the last
moment as to their ultimate conclusion. An interesting and beautiful
effect is again produced, at measures 167-177, by the changes of
key, while the scale passages that follow introduce further harmonic
variety. At measure 206 begins a passage that seems to intend the
key of D-flat, but again our expectations are not realized. So that the
total impression we receive from the harmony of this movement is of
a more complete unity and variety than is produced by the themes
themselves.
It must also be noted in general that this freedom of harmony is one
of the signs of advancement in the art of music, and that at the
present time the combination of chords is much less restricted than
was the case in Beethoven's day. And this steady advance has been
as steadily opposed by theorists. When we remember that
Monteverde (1567-1643) was bitterly criticised for introducing in a
chord the unprepared dominant seventh, making thereby a
dissonance almost as familiar to modern ears as is the simple major
triad—we can easily realize how difficult it was for people in
Beethoven's time to understand his far-reaching modulations. The
steady progress is further illustrated by Wagner's music-dramas,
which were considered when they first appeared as almost
cacophonous in their harmonization, but which now seem perfectly
simple and normal.

V. THE UNIVERSALITY OF BEETHOVEN'S GENIUS.

A piece of music like this is a human document. It embraces so
many phases of human feeling, and it places them all, as it were, in
such proper focus that we feel in listening to it as though we had
come in contact with elemental human experience. This music is not
unapproachably grand; we hear in it echoes of our own strivings,
hopes, and despairs. And it is this sense of proportion, this wideness
of vision, that makes Beethoven's music so universal. For in the last
analysis the effect of any work of art depends on the artist's sense
of values; a fine situation in a novel is all the finer for being set
against a proper background; a tragedy must have moments of
relief; beauty alone, whether in a painting or a piece of music, soon
palls upon us; in the greatest works of art this sense of values—this
feeling for proportion—is always present to save the situation
(whatever it may be) from the deadly sin of being uninteresting.
Beethoven continually gives evidence of his mastery over this
important element in composition. The beauty of his melodies never
palls. Before that point is reached there is some sudden change of
feeling, some unexpected turn of melody or modulation, some
brusque expression that shocks us out of our dream. He is
particularly fond of the latter device, and frequently lulls us into a
fancied quiet only to awaken us abruptly when we least expect it.
With him everything has its proportionate value, so that we get a
clearly defined impression of the whole work, just as in a fine novel
the values are so carefully preserved that we feel the locality of
every incident, and come to know the characters as we know our
own friends.
One who is thoroughly familiar with the andante of the Fifth
Symphony feels this quality as predominant. We are not enraptured
by the theme itself, as we are by that of Mozart's andante from the
string quartet (referred to in Chapter X), but we feel the charm of
incident and by-play, we are just as much interested in the
connecting passages as we are in any other part of the piece; and
we think of it all as we do of a finely written play, where one incident
hangs on another, and nothing happens that does not bear on the
plot.
Thus, judging music from the standpoint of universal human feeling,
Beethoven reaches the highest point in its development. No other
composer, before or since, has equalled him in this particular, and
the more we study him the more we find in him. Repeated hearings
do not dim the luster of his genius, nor have the great composers
who have followed him had as broad a survey of human life as he
possessed.
SUGGESTIONS FOR COLLATERAL READING.
Hadow: "Oxford History," Vol. V. Parry: "Studies of Great
Composers." Mason: "Beethoven and His Forerunners," Chapters VII,
VIII, and IX.
 FOOTNOTES:
[45] Number the measures and parts of measures consecutively
from beginning to end—making 248 measures in all.
[46] "Oxford History," Vol. III, p. 85.
[47] "Oxford History of Music," Vol. V, p. 272.
 CHAPTER XIV.
BEETHOVEN—IV.

I. BEETHOVEN'S HUMOR.
One of Beethoven's most prominent characteristics, without a special
consideration of which no account of him would be at all complete,
was his humor. In the three foregoing chapters we have had passing
glimpses of it: we have noted his distaste for the obvious, the trite,
the conventional, and his fondness for breaking in on the tranquillity
of his audience, sometimes in danger of lapsing into inattentive
dullness, with all manner of shocks and surprises—clashing chords in
the midst of soft passages, unexpected modulations to distant keys,
piquant interruptions of rhythm, long holds, sudden spasms of wild
speed. All such tricks were dear to him as means of avoiding the
monotony which is the one unpardonable sin of an artist, and of
attaining constant novelty and a kaleidoscopic diversity of effect.
None of his predecessors, and perhaps none of his successors,
carried to such lengths as he did this peculiar kind of musical humor.
It is one of the most essentially "Beethovenish" of all his qualities.
The particular form of movement in which his humor attained its
freest scope (though it is hardly ever entirely absent in anything that
he wrote) was the minuet of his earlier, and the scherzo of his later
sonatas and symphonies. The minuet of Haydn and Mozart, which
we have discussed in Chapter VII, though not entirely lacking in the
element of whim and perversity which gives rise to humor, was
primarily stately, formal, and suave. When we listen to a minuet of
this old school, our mind's eye conjures up the picture of a group of
eighteenth century dames and cavaliers, hoop-skirted and bewigged,
gravely going through the set evolutions of their dance with unfailing
dignity and courtly grace. From such a scene a Beethoven scherzo
whisks us in a moment to some merry gathering of peasants, where
all is wild conviviality, boisterous rejoicing, and unrestrained high
spirits.
Doubtless this contrast was in some measure due, as Sir George
Grove points out in an interesting passage, to the differences of the
social conditions under which the composers lived. "The musicians of
the eighteenth century," he says, "were too commonly the domestic
servants of archbishops and princes, wore powder and pigtails, and
swords, and court dresses, and gold lace, dined at the servants'
table, and could be discharged at a moment's notice like ordinary
lackeys. Being thus forced to regulate their conduct by etiquette,
they could not suddenly change all their habits when they came to
make their music, or give their thoughts and feelings the free and
natural vent which they would have had, but for the habits
engendered by the perpetual curb and restraint of their social
position. But Beethoven had set such social rules and restrictions at
naught. It was his nature, one of the most characteristic things in
him, to be free and unrestrained. Almost with his first appearance in
Vienna he behaved as the equal of everyone he met, and after he
had begun to feel his own way his music is constantly showing the
independence of his mind."[48]
Whatever the causes of this mental independence of Beethoven,
whatever part of it was due to changed social conditions, and what
to his purely personal character, there is ample testimony to its
existence in his biography. The man who could throw a badly cooked
stew at the head of the waiter, who could in a fit of temper publicly
shake his fist under the window of one of his best friends and
patrons, who could haughtily refuse to make the ordinary salutations
to his emperor and empress on a chance meeting, lest he appear
servile, and who when he was asked whether he were of noble
blood answered proudly that his nobility lay in his head and in his
heart, was not likely to pay exaggerated respect to traditions,
whether in life or in art. Indeed, perhaps the deepest secret of his
greatness was that while, as his sketch-books signally prove, he
spared no pains or labor to conform his work to those great natural
laws which are above all individual wills, he paid not the slightest
respect to mere rules and conventions, and held especially in
contempt the arbitrary codes of pedants and pedagogues. "It is not
allowed?" he inquired quizzically, when some such dogmatist
objected to a passage he had written: "Very well, then, I allow it."

( a)

[PNG] [
 (b)

[PNG] [
FIGURE LVIII.

Little wonder is it, then, that such a daring spirit, such a hater of the
timid and the droning, such a passionate lover of the individual, the
striking, the bizarre, and even the grotesque, found a congenial task
in infusing humor and irresponsibility into the classic minuet. This
form, already the lightest part of the sonata and symphony, already
consecrated to the expression of the composer's gayest and most
graceful thoughts, needed only to be made plastic enough to include
fantasy and banter in order to give free scope to Beethoven's most
frolicsome moods. To the task of thus aerating the symphonic
minuet he applied himself very early. Take, as an instance, the
minuet of the very first piano sonata, opus 2, number 1. As a whole
it breathes the polite graciousness of Mozart. The first cadence,
especially, recalls the sweetly formal manner of the old school. (See
Figure LVIII(a).) Yet a moment later Beethoven begins to play with
this very cadence in true scherzo fashion, like a cat with a mouse,
twice pawing it gently, so to speak, and then pouncing on it with
fury: ((b) in the same figure.)
In the other two sonatas bearing the same opus number he adopts
the name scherzo—which is an Italian word meaning "joke" or
"jest"—and with it introduces still more of the playful spirit; and as
the sonatas progress we find this tendency growing, until in opus 26
and opus 28 we have full-fledged, though rather brief, examples of
the real Beethoven scherzo. Let us look at these more carefully.

II. SCHERZOS FROM BEETHOVEN'S SONATAS.

EXAMPLE FOR ANALYSIS, No. 22.[1]

Beethoven: Scherzo[49] from the Twelfth Sonata, opus 26.

We note first of all that though the time-signature is three-four, as in
the old minuet, the pace is much more rapid—"allegro molto"—so
that a sense of bustle and restless activity is substituted for the well-
bred deliberateness of the minuet. This acceleration of time is
observable in most of the scherzos.
Again, the theme (measures 1-17) is of most energetic character,
which is even further intensified, on its re-entrance in the bass at
measure 46, by a rushing accompaniment in eighth-notes.
A characteristic passage precedes this return of the theme. To make
the excitement more welcome when it comes Beethoven has one of
his "lulls" for sixteen measures (31-46), during which the motion
dies out and all seems to stagnate for a moment. This sort of
quiescence, in which one takes breath for a new access of energy, is
always consummately managed by Beethoven, who has made the
"lull" a famous device.
The trio calls for no particular comment. It is in binary form, while
the scherzo itself is ternary.
 EXAMPLE FOR ANALYSIS, No. 23.

Beethoven: Scherzo from the Fifteenth Sonata, opus

28.
The tempo is again brisk—"allegro vivace."
The theme is exceedingly whimsical: long notes jumping down
through four octaves—first single notes, then thirds, then sixths—
followed each time by a quaint little cadence in which the staccato
touch is prominent.
The section of contrast after the double-bar (measures 33-48) takes
the form of a sequence, in which the left hand part carries the
original theme.
In the return of the theme we find one of those violent dynamic
contrasts so beloved by Beethoven, the theme in measures 49-53
being sounded in a mild piano and then, without warning, in
measures 58-61, pealed forth fortissimo in large chords.
The trio is again inconspicuous, save for its charming harmonization.
These two scherzos give a good idea of how Beethoven gives play to
his whimsicality in his piano sonatas,[50] but to get the Beethoven
scherzo at its highest power we must go to the symphonies. There
he has all the wondrous potentialities of instrumental coloring to fire
his imagination, and a canvas broad enough to afford scope for
endless ingenuity. It is a fascinating study to trace out how he
gradually advanced in the power to utilize all these possibilities.

III. THE SCHERZOS OF BEETHOVEN'S SYMPHONIES.

The third movement of the first symphony, though called "Minuetto,"
is marked "allegro molto e vivace," and with its spirited theme,
fascinating harmonies, and striking rhythms, is essentially a scherzo.
Perhaps the most interesting single feature of it is the completely
Beethovenish means adopted for getting back to the theme and the
home key of C-major after the section of contrast.

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FIGURE LIX.

The passage is shown in Figure LIX, and merits careful study. From
D-flat major, a key far distant from C, return is made by
imperceptible degrees. At the same time there is a crescendo of
power, until finally the theme breaks out vigorously in the home-key.
It will be noted that the brief phrases played by the left hand in this
passage are made from the first two notes of the theme itself. Thus
closely does Beethoven stick to his text.
The forcible syncopated rhythms and dissonant harmonies near the
end of this movement also deserve notice. They give it a rugged
character strangely at variance with its title of "minuet."
In the second symphony the name scherzo is adopted, and the
phials of mirth are freely opened. Sudden alternations of loud and
soft are especially conspicuous, as will be seen by referring to the
theme, quoted in (a) in Figure LX. Each new measure, here, brings
something unexpected and deliciously piquant.
Violent shifts of accent on to ordinarily unimportant parts of the
measure will be noticed in the twenty-first and twenty-fifth
measures, affording relief from what might without them become
monotonous.
A little later, after the reappearance of the theme, Beethoven
indulges in one of those passages which puzzle us and pique our
curiosity (Figure LX (b).) Where is he going? we ask ourselves, what
will he do next? But after a few moments' suspense, in which the
music seems to be spinning about in an eddy, so to speak, it falls
into the current again, and all goes cheerfully to the end.

( a)

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 (b)

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FIGURE LX.

In the trio, the student should note the whimsicality of the long hold
on an F-sharp through six entire measures, pianissimo, followed by a
sudden loud chord on A.
Indeed, the prankishness of the entire movement is inexhaustible.
We do not reach the full stature of the Beethoven scherzo, however,
until we get to that of the third or "Eroica" symphony. In this
wonderful movement we have a perfect masterpiece of irresistible,
tireless, kaleidoscopic humor, a great epic of irresponsibility which
must be ranked with such unique expressions of the humorous spirit
in literature as Shakespeare's Falstaff plays, Sterne's "Sentimental
Journey," or Stevenson's "New Arabian Nights." Well may Sir George
Grove say of it, that it is "perhaps the most Beethovenish of all his
compositions," and that in it "the tragedy and comedy of life are
startlingly combined."
It begins with a stealthy, soft succession of staccato chords in the
strings, uniformly pianissimo and yet most insistent in rhythm.
Against this is presently outlined the most piquant little theme by the
oboe ((a) in Figure LXI); the chords go on again, and then sounds
above them once more this incisive little theme. In the contrast
section after the double-bar comes first more playing with the rapid
soft chords, and then a charming bit of "imitation" of the theme
from one voice to another ((b) in Figure LXI). The note D is finally
reached in this way, and then Beethoven, instead of making some
trite and uninteresting modulation back to E-flat, whither he wishes
to go in order to begin his restatement, simply goes on sounding D
for ten measures, piano, and then without warning drops down to B-
flat, pianissimo, for four measures, and therewith proceeds with his
theme again. The mystery and charm of this return to key are
indescribable; the persistent pianissimo adds much to its
extraordinary effectiveness.

( a)

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(b)

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 ( c)

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(d)

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FIGURE LXI.

Now, however, with the return of the theme, we at last get a good
ear-filling fortissimo, the whole orchestra taking part in a vigorous
game of musical tag (the theme made into a canon—(c) in Figure
LXI). A fine climax is reached in a passage of bold leaping melody in
the strings, in which the accents are dramatically placed on the
second instead of the first beats of the measures, followed and
completed by staccato chords on the wood-wind instruments ((d) in
Figure LXI). This is enormously vigorous, and makes a fitting
culmination for this first part of the movement, besides giving an
opportunity for still greater effect later, as we shall see in a moment.
After it, a cadence is soon reached, though not before the strings
and wood-wind instruments have had a brief whimsical dialogue on
the subject of the staccato chords.
So far all is bantering merriment, iridescent color, and energetic high
spirits. But in the trio, one of the most wonderful of all Beethoven's
strokes of genius, the mood changes, and while the quick three-four
measure is still felt underneath, the long notes, and the deep mellow
tones of the horns, give an almost tragic quality to the music. The
theme, given out by three horns alone, with a brief cadence by the
strings, does not reach its full stature until its recurrence near the
end of the trio. In its second phrase the lowest horn reaches, and
holds for two measures, a D-flat which is of almost unearthly
solemnity of effect. This passage repays careful study, so
wonderfully does it use the simplest means to gain the highest
beauty. Sir George Grove well says of it: "If ever horns talked like
flesh and blood, they do it here."
The scherzo, on its return, goes on much as at first. Yet Beethoven
still has one last shot in reserve, as we suggested a moment back.
When he comes to that splendidly proud passage of descending
leaps in the strings (Figure LXI, d.), instead of repeating it, as he did
at first, in the same rhythm, he suddenly transforms it into even half
notes, which crash downwards like an avalanche, quite irresistible.
(See Figure LXII.) The effect is again indescribable in words; its
gigantesque vigor is of a kind to be found nowhere but in
Beethoven, and in him only in his inspired moments.
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FIGURE LXII.

In this wonderful movement the Beethoven scherzo first reaches its

full stature. It may be questioned whether he ever achieved
anything finer.
Yet in its own way the scherzo of the Fifth Symphony[51] is equally
original and characteristic, and as we have already analyzed two
movements of that symphony we will now make a detailed analysis
of this movement too.

EXAMPLE FOR ANALYSIS, No. 24.

Beethoven: Scherzo from the Fifth Symphony.

This scherzo is interlinked with the finale, into which it is merged by
a famous passage derived from the scherzo itself, and leading up
from the softest pianissimo to a grand outburst of the full orchestra.
We shall, however, end our analysis where this passage begins. The
complete scherzo, therefore, omitting this link-passage, will have
three hundred and thirty measures, which should be numbered
continuously for easy reference (counting the first partial measure as
one, as well as the incomplete measures at the beginning of the
trio).
The theme is of a very curious character, certainly nothing like the
usual bustling scherzo theme, but on the contrary mysterious,
vague, groping. Berlioz says of it: "It is as fascinating as the gaze of
a mesmerizer." After seventeen measures of this, a more energetic,
rhythmic theme succeeds (20-45) given out by the horns, fortissimo,
with rugged chords in accompaniment, in which we recognize a new
variant of that motive of three short notes and a long, which was so
prominent in the first movement (see Chapter XII). The remainder of
the scherzo proper is worked up out of these two contrasting strains,
thus: 46-71, from the first, mysterious one; 72-97, from the second,
energetic one; 98-133, beginning softly in mystery with the first, and
later (116) continuing with it a new, more lively melody (note how
the phrase of measures 3 and 4 persists in the bass all through this
part); 134-141, concluding cadence, on the second strain.
The trio, measures 142 to 238, is irresistibly ludicrous in the
elephantine antics through which the unwieldy double-basses are
put. They announce (142-148) a scrambling fugue theme, which is
"answered"—in imitation—several times at higher pitches (measures
148, 154, 156) by the other and more agile stringed instruments. A
sonorous close is reached at the double bar.
Then comes a most grotesque and amusing passage, in which, three
several times, these poor lumbering double basses hurl themselves
upon the theme, twice only to give up in despair after the first
measure and pause as if for breath. The effect of this brave attack
and utter failure to "keep up the pace" is irresistibly comic. But the
third time proverbially never fails, and in the measures following 168
they hold to their effort with bull-dog tenacity, and succeed in
reaching a safe haven in the G of measure 173. Thereupon the
theme enters once more above them, and is once more carried
through an exciting fugal chase, the entrances, which the student
should trace out carefully, occurring in measures 176, 180, 182, and
184, each time a little higher up. The cadence is reached in 200, and
the entire passage from the inept onslaughts of the basses is almost
literally repeated (200-227), except that now it becomes quieter and
quieter, and finally leads back to the mysterious scherzo theme (239-
257).
This time the ruggedness of the second strain of the scherzo has all
disappeared, and it remains delicate, almost ethereal, through
measures 258 to 330, with which the scherzo proper ends. As has
been stated, no complete pause is reached before the finale, but
instead of the cadence we have placed at the end, there is a long
passage leading over into the splendid march-like theme of the last
movement. How this passage is made out of the themes of the
scherzo itself will be seen by referring to Figure LXIII.

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