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]
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 again—apparently pointing to a consistent condition of Beethoven's mind throughout this work."
Melodic likenesses.