In this key the trumpets blaze out with an effect which entirely depends upon their restricted part hitherto.
I hear the trumpets now.
A subject so vast and so incapable of classification cannot be discussed here, but its aesthetic principles may be illustrated by the extreme case of the trumpets and horns, which in classical times had no scale except that of the natural harmonic series.
It is in E major, while Beethoven chooses to use trumpets in C. The only note which these can play in E major is the tonic, to which they are accordingly confined until the recapitulation of the second subject.
When the trumpets take it up they make a remarkable change at its iith bar, for no other reason than that one of the notes, though perfectly within their scale, and, indeed, already produced by them in the very same bar, is so harmonized as to suggest the freedom of an instrument with a complete scale.