His material he organized fairly independently of the old rules. He was one of those who seem to have learned from Liszt that the content of a piece must condition its form. Mahler's symphonies resemble symphonic poems. They are essentially dramatic in character. Although he strove continually for classic form, his works nevertheless reveal their programmatic origin. He was at heart one of the literary composers. But he was a better craftsman than most of them are. He was a finer workman than Strauss, for instance. His scores are much more bony. They are free of the mass of insignificant detail that clutters so many of Strauss's. He could asseverate with some justice, "I have never written an insincere note." And although his orchestration is not revolutionary, and is often commonplace enough, he nevertheless oftentimes employed an instrumental palette distinctly his own. He utilized instead of the violin the trumpet as premier instrument of the band; achieved all manner of brilliant effects with it. He increased the variety and usefulness of the instruments of percussion, forming out of them a new family of instruments to balance the families of the strings, brass, and wood-wind. In the score of the Second Symphony he calls for six timpani, bass and snare-drums, a high and a low tam-tam, cymbals, a triangle, glockenspiel, three deep-toned bells, in the chief orchestra; besides a bass-drum, triangle and cymbals in the supplementary. In the Eighth Symphony, the instruments of percussion form a little band by themselves. And he utilized the common instruments in original fashion, made the harps imitate bells, the wood-wind blow fanfares, the horns hold organ-points; combined piccolos with bassoons and contrabasses, wrote unisons for eight horns, let the trombones run scales----