MAULL: MAY I HAVE SOME MORE COFFEE, PLEASE?

WAITRESS: HEY!

MAULL: OH, I'M SORRY.

I WASN'T PAYING ATTENTION.

[ALARM BEEPING] [THEME MUSIC PLAYING] ANNOUNCER: FUNDING FOR THIS SERIES HAS BEEN MADE POSSIBLE IN PART BY JEAN BURGDORFF, JUDY MUSICANT AND HUGH CLARK, ELLIOT AND MARYJEANETTE DEE, THE GERALDINE R. DODGE FOUNDATION, MR. AND MRS. JAMES R. GILLEN, THE GLENMEDE TRUST COMPANY, MICHAEL J. JOHNSTON, THE ROBERT MILLS FOUNDATION, THE BILL AND PATRICIA O'CONNOR CHARITABLE FUND, MR. AND MRS. STERLING L. PIERSON, THE JOHN BEN SNOW MEMORIAL TRUST, JUDY AND JOSH WESTON, DAVID AND ELLEN WILLIAMS.

A COMPLETE LIST OF FUNDERS IS AVAILABLE UPON REQUEST FROM THE DISCOVERY ORCHESTRA.

WWW.DISCOVERYORCHESTRA.ORG.

THIS PROGRAM IS ALSO MADE POSSIBLE IN PART BY FUNDS FROM THE NEW JERSEY STATE COUNCIL ON THE ARTS, A PARTNER AGENCY OF THE NATIONAL ENDOWMENT FOR THE ARTS.

MAULL: YOU KNOW, PAYING ATTENTION ISN'T EASY.

OUR MINDS ARE CONSTANTLY RACING, PROCESSING THE THOUSANDS OF THINGS THAT ARE HAPPENING IN OUR LIVES.

TODAY WE SEEM TO BE BUSIER THAN EVER, SO WHY ON EARTH WOULD WE GIVE OUR UNDIVIDED ATTENTION TO A PIECE OF MUSIC, OF ANY LENGTH, THAT HAS NO WORDS, NO MUSIC VIDEO TO GO WITH IT?

WHAT'S THE PAYBACK?

WHAT'S IN IT FOR US?

BEFORE YOU TRY TO ANSWER, WE'D LIKE YOU TO THINK ABOUT WHERE WE'VE BEEN IN THE PREVIOUS EPISODES OF "FALL IN LOVE WITH MUSIC."

WE'VE EXPLORED SOME ASPECTS OF EACH OF THE ELEMENTS OF MUSIC OR RMTHDTF.

AND WE'VE LEARNED THAT IN ORDER TO RECEIVE THE MOST FROM ANY LISTENING EXPERIENCE, WE MUST ALLOW OUR RECEPTORS, REALLY OUR WHOLE BEING, TO TAKE IN THE INFORMATION BEING TRANSMITTED TO US IN THE RHYTHMS, MELODIES, TEXTURES, HARMONIES, DYNAMICS, TIMBRES, AND FORM OF THE MUSIC BEING PLAYED.

BELIEVE ME, DEVELOPING THE HABIT OF PERCEPTIVELY LISTENING IS NOT NEARLY AS LABOR-INTENSIVE OR TIME-CONSUMING AS LEARNING TO PLAY THE VIOLIN.

AND THE GOOD NEWS IS THAT WE CAN ALL LEARN TO BE VIRTUOSO LISTENERS, EVEN IF WE CAN'T ALL LEARN TO BE VIRTUOSO PIANISTS, CELLISTS, OR GUITARISTS.

AND NOW, WE'D LIKE TO ASK YOU TO LISTEN AND APPLY THE THINGS YOU'VE LEARNED TO A LITTLE MORE THAN 6 MINUTES OF WORDLESS MUSIC.

BUT TO DO THAT, WE'LL NEED YOU TO COME ALONG AND MEET SOME FRIENDS.

[MUSIC PLAYING] IN THE LAST TWO EPISODES OF OUR SERIES ON LISTENING, WE'D LIKE TO USE SOME OF THE ASPECTS OF MUSIC WE'VE EXPLORED THROUGHOUT THIS SERIES TO TAKE A LOOK INSIDE ONE COMPLETE MOVEMENT, OR CHAPTER, OF MUSIC; IN THIS CASE, A MOVEMENT BY LUDWIG VAN BEETHOVEN.

YOU KNOW HIM, OF COURSE, FOR THE FAMOUS... [PLAYING BEETHOVEN'S SYMPHONY NO.

5] EXACTLY, THANK YOU.

THE AMPHION QUARTET JUST PLAYED THE LAST MOVEMENT OF BEETHOVEN'S STRING QUARTET OPUS 18, NUMBER 3.

AS WE'VE MENTIONED, COMPOSERS ALWAYS HAVE A RECIPE IN MIND WHEN THEY SET ABOUT CREATING A MOVEMENT OF MUSIC, AND THE SPECIFIC RECIPE BEETHOVEN USED FOR THIS MUSIC WAS ONE THAT WAS ALREADY TIME-TESTED WHEN HE BEGAN TO BLOOM AS A YOUNG COMPOSER.

THE RECIPE IS CALLED SONATA FORM, AND OTHER COMPOSERS WHOSE CAREERS FLOURISHED BEFORE BEETHOVEN--INDIVIDUALS SUCH AS WOLFGANG AMADEUS MOZART AND FRANZ JOSEPH HAYDN--HAD EXPERIMENTED WITH AND PERFECTED THIS RECIPE.

IT'S REALLY AN EXTENDED VERSION OF AN OLD FAVORITE WE'VE ENCOUNTERED BEFORE--"A B A."

COMPOSERS AND LISTENERS ALIKE HAVE LOVED THIS RECIPE FOR CENTURIES, AND WHY?

BECAUSE IT ALWAYS FEELS SO RIGHT TO COME BACK WHERE YOU STARTED AFTER BEING AWAY FOR A WHILE.

TERNARY OR "A B A" FORM IS A RECIPE THAT STARTS IN YOUR HOME... [BIRDS CHIRPING] THEN YOU GO AWAY FOR A WHILE... AND COME BACK HOME AGAIN.

IT ALWAYS FEELS GOOD TO COME HOME, AT LEAST MOST OF THE TIME.

[DOG BARKING] IN THE HANDS OF COMPOSERS LIKE BEETHOVEN, THE TWO BOOKENDS OF SONATA FORM--THE "A" SECTIONS-- ARE EXPANDED TO HAVE AN ORDERED GROUP OF COMPONENT PARTS.

SOMETIMES, THERE'S AN INTRODUCTION--THAT'S AN OPTIONAL ITEM--BUT THERE'S ALWAYS A FIRST THEME, WHICH FOR THIS PARTICULAR BEETHOVEN MOVEMENT SOUNDS LIKE THIS... BY THE WAY, ANY RESEMBLANCE BETWEEN THIS MELODY... AND EL JARABE TOPATIO... ALSO KNOWN AS THE "MEXICAN HAT DANCE," IS STRICTLY COINCIDENTAL.

BUT LET'S LISTEN TO THIS FIRST THEME AGAIN.

IF THERE'S SMOKE, THERE'S FIRE.

AND IF THERE'S A FIRST THEME, THERE'S PROBABLY A SECOND THEME.

HERE IT IS.

AND JUST SO WE SENSE THE DIFFERENCE BETWEEN THESE TWO THEMES, WE'LL ASK KATIE TO PLAY JUST THE BEGINNING OF THE FIRST THEME.

AND THE BEGINNING OF THE SECOND THEME.

NOW, COMPOSERS DON'T LIKE TO JUMP DIRECTLY FROM THEIR FIRST THEME TO THEIR SECOND THEME, ESPECIALLY SINCE THESE THEMES ARE USUALLY IN DIFFERENT KEYS... [PLAYS TWO CHORDS] AND OFTEN HAVE VERY DIFFERENT CHARACTERS, SO THEY WRITE TRANSITIONS.

WE LIKE TO THINK OF TRANSITIONS AS "MUSICAL MAYONNAISE."

A TRANSITION IS A WAY TO TRANSPORT US FROM THE FIRST THEME TO THE SECOND THEME IN WHAT FEELS LIKE A SEAMLESS EVENT, JUST THE WAY MAYONNAISE FUSES THE DIFFERENT INGREDIENTS IN A SANDWICH.

HERE'S THE TRANSITION.

TO HELP KEEP ALL THIS STRAIGHT IN OUR MINDS, KATIE WILL ONCE AGAIN PLAY THE ESSENCE OF THE FIRST THEME.

THE TRANSITION... AND NOW THE SECOND THEME.

THE LAST COMPONENT IN OUR EXPANDED "A" PARAGRAPH IS THE CLOSING SECTION.

IT KIND OF FIGURES THAT COMPOSERS WOULD WANT TO "WRAP THINGS UP."

LISTEN TO BEETHOVEN'S CLOSING SECTION.

ONCE AGAIN, KATIE WILL PLAY FOR US THE CONDENSED VERSIONS OF THESE 4 COMPONENTS.

THE FIRST THEME...

THE TRANSITION...

THE SECOND THEME... AND THE CLOSING SECTION.

NOW, LET'S LISTEN TO THE FULL QUARTET PLAY THE FIRST THEME, TRANSITION, SECOND THEME, AND CLOSING SECTION--ALL THE COMPONENT PARTS OF THE EXPOSITION.

SO, WHAT DO YOU THINK ALL THIS TELLS US ABOUT BEETHOVEN?

SO OFTEN, WE SEE VISUAL IMAGES OF BEETHOVEN IN WHICH HE LOOKS KIND OF WILD AND CRAZED.

AND HE MAY VERY WELL HAVE BEEN KIND OF WILD AND CRAZED AT TIMES.

BUT ONE OF THE REASONS WE CAN FEEL SO PERSONALLY ENDEARED TO HIM IS THAT, DESPITE HIS ISSUES, HE MANAGED TO HANG ON TO HIS SENSE OF HUMOR.

BEETHOVEN HAD A WONDERFUL SENSE OF HUMOR, AND HERE ARE SOME EXAMPLES.

LISTEN TO THE FIRST THEME AGAIN, THE WAY THE MOVEMENT BEGINS.

IT'S SO PLAYFUL!

AND DID YOU NOTICE THE UNEXPECTED RHYTHMIC ACCENT TOWARD THE END-- SYNCOPATION, AS WE CALL IT?

LISTEN AGAIN.

AND HAVE YOU EVER BEEN TO A CLASSICAL CONCERT AND NOTICED THAT SOMEONE NEAR YOU IN THE AUDIENCE SUDDENLY, WITHOUT WARNING, EMITS A QUIET LAUGH OR CHUCKLE, AND YOU FOUND YOURSELF WONDERING, WHAT'S FUNNY?

WELL, IT WAS PROBABLY A MOMENT IN THE MUSIC LIKE THIS, THE END OF THE SECOND THEME WITH ITS SUDDEN CHANGES OF DIRECTION.

IT'S NOT UNLIKE WHEN A STANDUP COMEDIAN DOES A DOUBLE TAKE.

THEY CAN GET A LAUGH OUT OF THE AUDIENCE JUST BY SUDDENLY TURNING THEIR HEAD AND STARING, WITH PERHAPS JUST AN EYEBROW LIFT.

THE "A" SECTION OF A SONATA FORM MOVEMENT HAS A FORMAL MUSICAL NAME, THE EXPOSITION, AND IT WAS COMMON PRACTICE DURING BEETHOVEN'S LIFETIME TO REPEAT THE EXPOSITION.

ENJOY BEETHOVEN'S SENSE OF HUMOR AS THE MEMBERS OF THE AMPHION STRING QUARTET PLAY THE EXPOSITION TWICE.

TO HELP KEEP YOUR LISTENING FOCUSED ON THE COMPONENT PARTS OF THE SONATA FORM RECIPE AS THEY OCCUR, WE'LL GIVE YOU SOME ON-SCREEN VISUALS THE FIRST TIME THROUGH.

THE SECOND TIME THROUGH THE EXPOSITION, JUST WATCH THE MEMBERS OF THE QUARTET AND LISTEN ALONG FOR THE RIDE.

SO, WHAT DO COMPOSERS DO IN THE NEXT LARGE SECTION, "B," IN OUR EXPANDED "A B A" SCHEME?

IN THIS MIDDLE SECTION--KNOWN AS THE DEVELOPMENT--COMPOSERS ALTER, OR "DEVELOP", MUSICAL THEMES PRESENTED IN THE EXPOSITION.

BUT--HEH HEH!-- YOU'LL HAVE TO WAIT TO JOIN US NEXT TIME TO FIND OUT HOW BEETHOVEN PLAYED AROUND WITH HIS EXPOSITION THEMES.

BETWEEN NOW AND THEN, YOU MIGHT LIKE TO THINK ABOUT WHAT YOU WOULD DO TO CHANGE THIS THEME.

WE HOPE YOU'RE ENJOYING BECOMING AN "INSIDER" REGARDING THIS AMAZING FORM OF COMMUNICATION THAT WE CALL MUSIC.

AS INVISIBLE AS THOSE SOUND WAVES ARE TO THE EYE, WE KNOW THAT THEY ARE INCREDIBLY POWERFUL IN THEIR ABILITY TO TOUCH OUR HEARTS, TO MOVE US.

WHO WOULD HAVE EVER THOUGHT THAT SOMETHING SO INTANGIBLE COULD HAVE SUCH A VISCERAL EFFECT ON US?

SO WHETHER IT'S BACH OR BARTOK OR BEETHOVEN OR BRUBECK, ABSTRACT, WORDLESS MUSIC PENETRATES US LIKE AN ELECTRICAL CURRENT.

I'M GEORGE MARRINER MAULL FOR THE DISCOVERY ORCHESTRA, REMINDING YOU TO LISTEN BETTER -Funding for this series has been made possible in part by... ♪ ♪ ♪ ♪ -The complete 8-part series of "Fall in Love with Music" is available on DVD for $12.95 plus shipping and handling.

To order, call 973-379-2200 or order online at www.DiscoveryOrchestra.org.

♪ ♪