Theme and variations The immense second movement, marked Adagio, ma no troppo e molto cantabile, is in the subdominant key of A major. It consists of a set of six variations and a coda. The last two variations have qualities of recapitulations in unrelated keys. The 3rd variation is in the flat submediant F major, enharmonically notated in E. The 4th variation returns to the tonic and the original theme. It is altered rhythmically, using 16th-notes in place of eighth notes in the melody. The first variation is in meter with darker harmonies and quick changes in dynamics. The second variation increases the tempo to andante con moto and adjusts the meter to . The violins engage in a dialogue over staccato accompaniment. The third variation shifts to E major, enharmonically the flat submediant, and the tempo shifts to a hymnlike adagio molto espressivo. The fourth variation returns to and A major by dropping a half-step from E to the dominant, E. This variation has a codetta that transitions to D major in preparation for the next variation. The fifth variation is sotto voce and has been called a "mysterious episode". It begins in D major and transitions to the parallel C minor. The recapitulatory sixth variation returns to , presents only half of the theme and connects directly to the coda. The penultimate variation recapitulates the theme after a contrasting section in the submediant, while the final variation restores the tonic and basic thematic material after an episode in the subdominant. Beethoven based this tonal progression on the finale of the Ninth Symphony, where the orchestral double fugue episode in B is followed by the "grand" variation for full orchestra and choir in D major, followed by the "" episode in G major, which moves into the choral double fugue in the tonic D major. Op. 127: A → E (lowered submediant) – penultimate variation → D (subdominant) → final variation Op. 125: D → B (lowered submediant) – penultimate variation → G (subdominant) → final variation 3rd movement: Scherzo The dancelike scherzo features a dotted-rhythm figure. This is the quartet's most contrapuntal movement. The scherzo's trio is a Presto of a kind Beethoven did not use very often, though it is similar in sound and phrasing to some of his bagatelles from the contemporary Op. 126 set. 4th movement: Finale The fourth movement is in sonata form. Its