. Orchestration . say again thatthe higher Harmonics are all easier to get on the lower crooks, and thelower Harmonics on the higher crooks. Top C, for instance—unplay-able on the B|?-alto-crook—is a perfectly easy note on the C-basso, andeasier still on the Such crooks as these are quite disusedfor ordinary purposes. Beethoven, however, never writes the highestHarmonics for the high crooks. The modern player, therefore, inattacking these passages, has the option of playing the top notes (1)as a slightly lower series of Harmonics on his medium-pitched 1 See list of crooks on p. 78.

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. Orchestration . say again thatthe higher Harmonics are all easier to get on the lower crooks, and thelower Harmonics on the higher crooks. Top C, for instance—unplay-able on the B|?-alto-crook—is a perfectly easy note on the C-basso, andeasier still on the Such crooks as these are quite disusedfor ordinary purposes. Beethoven, however, never writes the highestHarmonics for the high crooks. The modern player, therefore, inattacking these passages, has the option of playing the top notes (1)as a slightly lower series of Harmonics on his medium-pitched 1 See list of crooks on p. 78. 124 ORCHESTRATION F-crook, or (2) of taking a very high crook and playing them as aconsiderably lower series. The latter is the general though notinvariable practice. For instance, in the following three examples, ofwThich the first is from the Eroica Symphony and the second andthird from Leonoras air in Act II. of Fidelio: 1st & 2ndHorns in Ek EXAMPLE Vivace. cr?sc- Beethoven. Eroica EXAMPLE 58. Horns in E(lj). Allegro con brio. Beethoven. Fidelio.

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