| No |
Description
|
Page |
| 20. |
Similarity between the first
subject of the first movement and the first four bars
of the Finale
|
53 |
| 21. |
Motif II as it appears in
bars 5 and 7 in the Finale
|
53 |
| 22. |
Hints of a melodious second
subject in the Finale
|
54 |
| 23. |
Derivation of Motif (b)
from bars 1-4 of the first movement (a)
|
56 |
| 24. |
Derivation of the second
subject
|
57 |
| 25. |
The use of Motif x (Example
24) in the second subject
|
57 |
| 26. |
Derivation of bar 99 from
the first subject
|
58 |
| 27. |
The three-layered structure
beginning bar 137 in the development
|
59 |
| 28. |
The use of the minor third
in the Scherzo
|
60 |
| 29. |
Thematic integration of
the Trio with the Scherzo
|
61 |
| 30. |
Link between the Trio theme
of the Scherzo and the Trio theme of the Funeral March
|
61 |
| 31. |
Link between the main subject
of the Funeral March and the first subject of the
first movement
|
62 |
| 32. |
Use of the mediant degree
in various subjects
|
62 |
| 33. |
The use of the introductory
motif in the Finale
|
63 |
| 34. |
Link between the Scherzo
and the first movement
|
73 |
| 35. |
Thematic link between the
Scherzo and the first movement: the rising fifth
|
74 |
