In the Hallelujah Chorus of Handel's "Messiah" the orchestra consists of two trumpets, kettle-drums, violins, violas, and basses. In the chorus, "How Excellent," in "Saul," the composer uses three trombones, two trumpets, kettle-drums, three oboes, violins, violas, and basses. For the purpose of comparison, it may be stated that in his mass in B minor Sebastian Bach used three trumpets, tympani (kettle-drums), two flutes, two oboes, two bassoons, violins, violas, basses, and organ. The use of the wooden wind instruments in pairs is noteworthy because subsequent composers followed that practice. Haydn's earlier works are written for two horns, two oboes, two flutes, and the usual array of strings. In his later works Haydn employs nearly the full modern orchestra. In "The Creation" he uses two trumpets, tympani, three trombones, two clarinets, two horns, two oboes, two flutes, two bassoons, a contra-bassoon, violins, violas, and basses. Haydn introduced the violoncello into the orchestra, thus completing the modern list of bowed string instruments; and Mozart demonstrated the value of the clarinet, thus completing the wood wind. Beethoven's full orchestra consisted of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tympani, and the usual array of strings. These instruments stand in this order in Beethoven's scores, reading from the top of the page downward, and subsequent composers have followed this arrangement. When voices appear in the score, they are placed between the violin and violoncello parts. Contemporaneous composers incline to abandon that custom, and to place the voices just above the first violin part. This will keep the string parts, the foundation of the accompaniment, together below the voices, thus making the score easier for the conductor to read. Beethoven's orchestra was substantially that of Schubert, Spohr, Mendelssohn, Weber, and Schumann.