Many of Wagner’s harmonic progressions belong to that class which instruct rather than obey the theorists. These progressions have all been found capable of justification by analysis, and will therefore remain as part of Wagner’s contributions to the development of musical science and art. In considering these novelties, we must remember that genius is usually in advance of its day, and what sounded strange at first by reason of its novelty will in good time become part of the common diction of the art. In instrumentation, Wagner also made many innovations, and it is indisputable that he was the greatest master of the art of scoring who has ever lived. He showed a profounder insight into the individual capacity of every instrument than any composer except Berlioz, and in fecundity of combination he excelled even the gifted Frenchman. He enriched the body of tone of the modern orchestra by the employment of the tenor tuba, and emphasized the value of the neglected bass trumpet. His addition to the customary number of horn parts splendidly improved the mellow tone and solidity of the brass choir, and his use of the bass clarinet, not simply as a solo instrument, but as a re-enforcement of the organ-like bass of the woodwind department, was a stroke of genius. He further developed the expressiveness of the woodwind band by the novelty of his distribution of harmony among its members. Not only did he allot solos to them with unerring judgment, but departing from the conventional style of the classic symphonists, who used their wood instruments in pairs playing in thirds and sixths, he wrote for these instruments in a marvellously effective dispersed harmony. In writing for the strings, Wagner divided them more frequently than his predecessors had done, often making six or eight real parts among the violins alone. Altogether his instrumentation is richer in its polyphony and more solid in its body of tone than that of any other composer. He has been accused of being noisy, but power of sound is not necessarily noise. There is more noise in some of Verdi’s shrieking piccolo passages, accentuated with bass-drum thumps, than in the loudest passage that Wagner ever wrote.