[MUSIC] Now we go to the finale, what's going on in finale? [MUSIC] After all this trouble he's gone through, went to different territories, still keep his control, his rule, and he finally reaches home. He should just go to A, happily. No, he doesn't go to A right away. After this F major at the end of the third movement. [MUSIC] F goes to E. [MUSIC] And he repeats. [MUSIC] Only at the end of this part is the E, E, E, and a short A. So in a way, he not only goes out, have his prime minister arrange everything for his stay in different properties. He also, the prime minister brings the king home. So like we said before, the prime minister is there, the king is not far behind. So in our case, the dominant is there, tonic is not far behind. So now we go to the conclusion of the end of the symphony. In the middle, I just want to mention this, we won't have time to get into. In the middle of the last movement, just like in the first movement, he also went to length to spend time in C major and F major. Or this idea that he planned example 2, he explored more thoroughly in the last movement as well. And then finally, he goes to the finale, which is the coda of the section. So remember the very beginning, example 2, we have this, [MUSIC] That chromatic scale from A to E, and he repeats again in the grand coda. But this time in a circuitous way, so if we look at example 6, see this is the bass line. [MUSIC] Which first goes up a little bit, end then goes, [MUSIC] Now, if you look at this, it looks just like the opening bars, the bass line, very similar anyway. But in reality, of course, he does in a circuitous way, very much decorated, a bass line descending, still descending bass line. So let's hear it and follow the bass line. [MUSIC] Okay, so let's look at the score, and I'll play the bass line for you, so you can kind of follow the coda. So we start from [SOUND] from here, you see. [MUSIC] Now I stay the A, and then A flat which is G sharp, and then it goes to G. [MUSIC] And then to F sharp. [MUSIC] And the G flat, F natural. [MUSIC] E, E, E, D sharp. [MUSIC] A lot of E, and then goes down. [MUSIC] And then finally, he ends up again with the very last page of the score. [MUSIC] So still with E, A. [SOUND] So now we can see, if we look at example 7. On top is example 2, if you line them up, basically, these are the movements in the example 7, you show the movements. You start with A major, which is where the example 2 is. And then goes to A minor, which implied the C major. Remember he goes to C major, the phrase, and that F major, and then through E it goes back to A major. So just like Brahms did it with his themes, Beethoven planned in the first ten bars all this harmonic scheme. Then he expanded, manipulated into the rest of the symphony. And he planned this grant symphony, the harmonic structure of the symphony. Truly, I think he planned it. >> Remarkable. >> Think- >> Really remarkable. >> Do you think it could be just a kind of intuitive, because he's a genius, he did it, or he really planned? I don't think anybody can just do this on instinct. But somebody had planned it. Beethoven, we know in fact that he changed a lot of manuscript, those changes. It's not like Mozart, who just wrote music, kept going. And Beethoven actually planned a lot of things, and discarded a lot of ideas until he gets the perfect idea. So this is interesting how the composers that plan that works. [MUSIC]