Classic conservatism in the use of the brass found no exception even when consigned to Beethoven's inspired pen other than the previously mentioned augmentation of horn parts and the more frequent requisition for trombones. His horn writing[33] followed that of Mozart, but his style was freer, bolder, and the results more resonant, especially in such passages as the familiar jubilant fanfare in the Scherzo of the "Eroica" and again in the Scherzo of the "Pastoral." On the other hand, the decidedly primitive functions of the trumpets[34] were in no wise ameliorated, an incident that is largely to be accounted for by the mechanical limitations of the instrument which still existed at that day. As for the trombones, to have drawn upon them merely for increase of volume, would have been contrary to the ethics of Beethoven's artistic creed. The fact that they did add sonority was therefore but a subsidiary issue, and in climaxes such as the Finale of the Fifth Symphony, their mission was primarily that of lending grandeur and richness to the final scintillating tableau.[35] [Footnote 33: Ex. 30, 32, 35.] [Footnote 34: Ex. 30.] [Footnote 35: Ex. 30.] In conclusion, the kettle-drums must receive especial mention. It will be noticed that as yet but passing reference to them has been made in these pages, for it was left to Beethoven to discover their genuinely tragic resources. He not only enlarged the scope of the instruments by having them tuned to intervals other than the conventional and stereotyped fourth and fifth, but gave them expressive powers such as had never been attained before. Consequently there was added to the orchestra a practically new member, since he caused the tympani to respond to his dictates, as it were, with warm and throbbing pulse-beats, at times permeating, dominating, subduing the entire orchestral color-scheme. Striking illustrations of this latent power are to be found in the third movement of the C minor Symphony[36] and the Finale of the Pianoforte Concerto in E flat; likewise in the Finale of the Eighth and the Scherzo of the Ninth symphonies, in both of which they are tuned in octaves; and in the introduction to the second act of "Fidelio," where they are tuned to the interval of the diminished fifth. Further specimens of specifically solo writing will be recalled in the Adagio of the B flat Symphony, the beginning of the Violin Concerto, and the introduction to the "Mount of Olives." [Footnote 36: Ex. 29.]