For example, an eighteenth century clarinet in C can be played in F, C, and G and their relative minors with good intonation, but with revolutionary difficulty and poorer intonation as the key moved clear of this range. In distinction, for octave overblowing contraptions, an instrument in C with few keys could a lot more easily be played in any key. Difficult key signatures and numerous accidentals were thus largely avoided. The lower pitched clarinets sound "mellower" less bright, and the C clarinet—being the highest and therefore brightest of the three—fell out of favour as the other two could cover its range and their sound was considered better. While the clarinet in C started to fall out of regular use around 1850, some composers endured to write C parts after this date, e. g. , Bizet's Symphony in C 1855, Tchaikovsky's Symphony No. 2 1872, Smetana's overture to The Bartered Bride 1866 and Má Vlast 1874, Dvořák's Slavonic Dance Op. 46, No. 1 1878, Brahms' Symphony No. 4 1885, Mahler's Symphony No.