Beethoven - "Ode to Joy." One note.

First, a quick intro on the piece that most people know as "Ode to Joy": The familiar melody is actually the prevailing theme in the fourth (final) movement of Beethoven's 9th (final) symphony. Its lyrics come from a poem by Friedrich Schiller. The theme occurs throughout the movement in a variety of ways, but is most commonly known for the triumphant moment that occurs at 12:55 in the video above. It is interesting to note that the theme does not occur until late in the piece, and that it neither opens nor closes the movement.

Because of its wide popularity, it is common for beginning students to learn the "Ode to Joy" melody on the piano. I understand that these beginner arrangements are often simplified for easy consumption, but it is striking how much of the impact is stripped out. Here is one example of a basic arrangement:

and another in C:

I will explain why these reductions fail, but first, what is it about this music that gives us goosebumps? There are many obvious reasons: the melody is simple but stately and revolves over the tried-and-true I, IV and V chords; the combination of a chorus and an orchestra is hard to beat; it is familiar, having been shared from generation to generation, featured in commercials and movies and holiday concerts.

Often goosebumps can't be explained through music theory. This is probably one of those times. But there is one note that really makes the piece work for me, that is often neglected in simplified versions of the piece. The harmony uses the flat seven, shown here in the orchestral score:

I have no idea why that note is so powerful, but I have a couple soft theories. For one, it is a bit unusual. We often gravitate to diatonic harmonies, like the parallel thirds in the first example above. There is a novelty to the dominant I chord. It also leads to an excellent double suspension in the soprano and alto parts. Listen to the difference:

First the piece with regular parallel thirds (this does create a double suspension over the IV chord that is quite pretty): 

Now with the flatted seven:

My other theory about why this note is so powerful is that it leads to the IV chord. There's just something about the IV chord. The I chord is home, and the V chord leads you home, but IV is neither of those; IV is the meat. It is where the drama happens. That's my best guess as to why it gives so many people goosebumps. I and V establish the key, but IV is the action. All I know is that I love that "C" in the altos.

There are a handful of other important/interesting details that are missed in the arrangements above, all things I think one should look for when playing an arrangement:

• It should be in D Major. Not G, not C
• It should go to the IV chord in the 5th measure, not V
• The bridge (not shown above) should have two secondary dominant chords, V/ii and V/V
• Despite the straight rhythm of the melody, it is actually in 6/8

Of course there is nothing wrong with simplifying a piece for beginners, but I think at some point in one's career they need to start getting it right, and this is a piece that deserves to be done right.