. Orchestration . ant passages founded on arpeggios, diatonic andchromatic scales, broken chords, and so on. It is by no means aninstrument whose sole capability is the performance of slow legatomelodies. The elaborate Obbligato to Vitellias song, Non piu difiori inMozarts Clemenza di Tito is still often heard in our seems to have had a special affection for this instrument. Heuses it either singly or in pairs in the Adagio of his B\> Serenade, inthe Nozze di Figaro (additional number), in the Zauberflote, in IISeraglio, and in the Requiem. Beethoven appears to have onl
. Orchestration . ant passages founded on arpeggios, diatonic andchromatic scales, broken chords, and so on. It is by no means aninstrument whose sole capability is the performance of slow legatomelodies. The elaborate Obbligato to Vitellias song, Non piu difiori inMozarts Clemenza di Tito is still often heard in our seems to have had a special affection for this instrument. Heuses it either singly or in pairs in the Adagio of his B\> Serenade, inthe Nozze di Figaro (additional number), in the Zauberflote, in IISeraglio, and in the Requiem. Beethoven appears to have only writtenfor it once,—in his Prometheus. Modern instances are hard to following Motto Allegro passage from the Overture to HolbrookesChildren of Don is specially chosen for quotation instead of thecantabile, which is more conventionally associated with the largerClarinets. EXAMPLE 200. Molto Allegro. Holbrooke. Children of Bon. i _r^r» ., > i 0 iijf $• qp Bassetto. 1 fj ? • n p * i—i ? --~. -f The present-day representative in England of the Bassett-Horn isthe Alto-Clarinet-in-Ek This instrument is pitched a whole-tone lowerthan the Bassett-Horn. Its compass, however, is not prolonged down-wards below E, the bottom note of the ordinary Clarinet. This givesthe sound of low G, a major sixth below the written E: m It will therefore be seen that it cannot sound the two bottom semi-tones FjJ and Ft], both possible on the Bassett-Horn. Strauss. 284 ORCHESTRATION The difference between the two instruments in downward compasswill be made plain by the following example:Lowest written note of the Bassett-Horn: $ sounding 3± Lowest written note of the Eb-Alto-Clarinet sounding I The compass of the Eb-Alto is $ which sounds a major sixth lower, viz., to !?£JL The Eb-Alto is written for in the treble-clef with a key-signature of three bs less or three $s more than the key-signature ofthe piece. Here again we see that the build of the instrumentgives it a peculiar faci
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