As Sir George Grove has said, "this coda is no mere termination to a movement which might have ended as well without it. No, it is an essential part of the poem, and will be known as such. It is one of Beethoven's great inventions, and he knows it, and starts it in such a style that no one can possibly overlook what he is doing." In the same symphony Beethoven entitles his slow movement "March," and his third movement "Scherzo." Both of these titles were new to the symphony. The finale is made more important and more expressive than it has ever been in any previous work. In his sixth symphony Beethoven gave each of the movements descriptive titles, such as "Scene by the brook." This was a distinct innovation in symphonic writing, and the artistic beauty and eloquence of the work prove that the symphony as a form was capable of the most free expressiveness. In the fifth symphony the composer demonstrated in the convincing manner the complete organization of the form by using a single motive, that which introduces the work, as the germ and the connecting instrument of the whole. The fifth symphony is the most convincing of all Beethoven's works. Its portrayal of man's struggle against fate and his final triumph is superb; yet in form the symphony is absolutely perfect. In his seventh symphony he developed the slow introduction to the first movement, which has previously occupied a dozen measures, to sixty-two. In his ninth symphony he made his only confession of the inadequacy of his instrumental means. He introduced voices. The ninth symphony is a work of transcendent genius, and its effect justifies its method; but the use of voices in instrumental works since has almost inevitably failed. Only Beethoven could bridge the chasm between musical mood-pictures without words and music leaning on the shoulder of text.