However, the use of the note D4 in bar 7 can be traced back to a draft Beethoven wrote for the piece that is today housed in the Beethoven-Haus Bonn.

[7] Another point in favor of the D4 is that the ascending seventh of the motive in this form is repeated in sequence in bars 9 to 11 that begin the second section of the principal theme.

[9] On the other hand, Barry Cooper wrote, in a 1984 essay in The Musical Times, that one of two surviving sketches closely resembles the published version.

She was a friend and student of Beethoven's to whom he supposedly proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816.

The Austrian musicologist Michael Lorenz[13] has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik's musical scores, was the son of Babette Bredl, born out of wedlock.

[15] But in April 1810 Elisabeth Röckel got an engagement at the theater in Bamberg where she made her stage debut as Donna Anna in Mozart's Don Giovanni and became a friend of the writer E. T. A.

It shows that she was also a close friend of Anna Milder-Hauptmann and lived together with her and her brother Joseph August in the Theater an der Wien.

It begins with the refrain A, a flowing melody in binary form marked Poco moto (literally "a little motion," a tempo indication that does not appear elsewhere in Beethoven's works), with an arpeggiated left hand accompaniment.

The digression at measure 9 glances at the relative major before returning to the original theme and key, preceded by a prolongation of the dominant, E that extends the opening lower-neighbor oscillation.

The pitch outline of these bars, E-F-E-D-C-B, i.e. an upper-neighbor ascent to F5 followed by a descending scale, also forms the basis of the two episodes B and C, thus unifying the piece.

Its theme begins by tracing the outline mentioned above in somewhat elaborated fashion and modulates to the dominant, followed by 32nd-note runs repeating a cadential progression in C major in a codetta-like passage.

(The chordal three-note upbeats in the left hand have been anticipated by the transition to this episode in bar 22, a clever unifying touch.)

After a glance at a Neapolitan harmony (B-flat major) and a cadence at bar 76 that brings the music to a complete halt for the first and only time, an ascending A minor arpeggio and a chromatic descent over two octaves follows, sort of a cadenza in tempo, leading to a final repetition of the A section.

Kopitz presents the finding by the German organ scholar Johannes Quack [de] that the letters that spell Elise can be decoded as the first three notes of the piece.

In Taiwan, Für Elise is one of the two melodies garbage trucks play to ask residents to bring out their trash, the other being Maiden's Prayer.