The formation of the modern wind section in the late Classical, particularly the dominance of smaller clarinets instead of basset horn, created a preponderance of high-pitched woodwind instruments in the section, with lower auxiliaries such as bass clarinet not yet included. Therefore, scoring for the wind section meant that the bassoons would often serve as both bass and tenor, as in the chorales of Beethoven symphonies. Thus, over the Classical period and into the Romantic, although bassoon retained its function as bass, it also came to be used as a lyrical tenor as well, particularly in solos (somewhat parallel to the treatment of the cello in the strings). The introduction of contrabassoon around this time, along with lower horn writing and expanded lower brass, also alleviated the bassoons (particularly the principal) of the need to serve as a bass. The increasingly sophisticated mechanism of the instrument throughout this time also meant that it could produce higher pitches with greater facility and more expression, which also factored into the increasing frequency of bassoon solos in orchestral writing.