as in his other symphonic works, there are no marks of extreme virtuosity apparent in the score and the lines are straightforward. The Sixth Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, bass tuba, timpani, and string section. Bruckner commonly alternates between solo and tutti sections, as well as layering instruments to provide texture and show different subject groups. Forms, themes, and analysis The symphony has four movements: I. Majestoso Bruckner labels this movement "Majestoso", not the conventional "Maestoso", probably from his Latin (from "Maiestas" – sovereign power). The movement, in obvious sonata form, opens with the characteristic 'Bruckner rhythm' played in the violins, though Bruckner is careful to maintain the enigmatic atmosphere by indicating a bowing that keeps the bow on the string and therefore prohibits the rhythmic figure from becoming too lively. One then hears the quietly intense main theme, a paraphrase of the main theme of Bruckner's own Symphony No. 4, stated in the low strings and juxtaposed against the pulsating rhythm in the violins: The key is A major when the first theme enters; however, the mystery is heightened by notes outside the realm of A major tonality that appear in the melodic line, namely the pitches G, B and F, Neapolitan inflections that will have large-scale tonal effects that come to fruition later in the symphony. The counterstatement of the theme appears (bar 25) in fortissimo, a long-established classical technique that Bruckner had yet to use at the beginning of a symphony. The second theme group is more complex than the primary theme. The first theme of this group is a confident melody in the violins in which Bruckner employs mixed rhythms: The second theme in this group, an expressive, lyrical motif (bar 69) is first heard in D major, closely followed by a statement in F major and a richly orchestrated statement in E major, the dominant of the movement's original A major. The third theme group, beginning with a militaristic statement of the Bruckner rhythm, now appears, followed by modulations ending in the dominant (E major) and segueing into the development section: The development is shorter and less complex than one usually finds in Bruckner's symphonic first movements; however, it plays a substantial role in the overall harmonic structure of the movement. From the outset (bar 159), the violins play an inversion of