It is hardly surprising that the long tradition of partimento schemata is apparent in the music of Beethoven. Many of his teachers, including Haydn and Salieri, were raised in that pedagogic tradition, and the musical patterns surface consistently in Beethoven’s output. They are particularly evident in works that focus on the performer, such as concertos and fantasias, but their grammatical and syntactical features also contribute to the rarefied language of the late quartets.