In the opera "Giasone" (1649) of Cavalli we find a song accompanied by two violins and a bass in a style which lasted till Handel's day. Alessandro Stradella in 1676 used a double orchestra in which violins were the principal instruments. About the same time we find Alessandro Scarlatti writing for first and second violins, violas, and basses, distributing the parts in quartet form, in the same way as composers do to-day. He used his first violin as the soprano of his string quartet, his second violin as the alto, his viola as the tenor, and his bass as the fundamental bass. Wind instruments continued to be used to add color and contrast to the foundation of strings and in tutti passages (passages enlisting all the instruments of an orchestra at once) to strengthen them. It is hardly necessary to stop to consider the orchestra employed by Sebastian Bach, because his system of writing for orchestra was not in the direct line of development, though modern composers have learned much from it. In his string writing he is an excellent master for the present, but his wood wind parts (flute, oboe, or bassoon) are written usually in such a way that they become separate solo voices. In short, his instrumental scores lean toward the polyphonic, rather than the monophonic style. Handel (1685-1759) employed an orchestra much like that of to-day, and methods not unlike those of the present in writing for it. In fact Handel's orchestra may be regarded as the foundation of the modern symphonic band. In his big oratorio choruses Handel used a number of oboes to strengthen the violin parts, and a number of bassoons to strengthen the basses, but in other parts of the same works he used the wind instruments to enrich the general score with independent parts. Again, he employed the wind and strings separately, contrasting one with the other just as modern composers do.