The valve horns and valve trumpets came into use slowly; Schumann frequently used valve horns plus natural horns, and Berlioz preferred the vulgar _cornet à pistons_ to the improved trumpet. But the romantic period added many an instrument to the limited orchestra of Mozart and Beethoven. Clarinets and trombones became the usual thing. The horns were increased to four, and the small flute or piccolo, the English horn, and the bass clarinet (or the double bassoon), and the ophicleide became frequent. Various instruments, such as the ‘serpent,’ the harp, and all sorts of drums were freely introduced for special effects. Berlioz especially loved to introduce unusual instruments, and quantities of them. For his famous ‘Requiem’ he demanded (though he later made concessions): six flutes, four oboes, six clarinets, ten bassoons, thirty-five first and thirty-five second violins, thirty ‘cellos, twenty-five basses, and twelve horns. In the _Tuba Mirum_ he asks for twelve pairs of kettle-drums, tuned to cover the whole diatonic scale and several of the accidentals, and for four separate ‘orchestras,’ placed at the four corners of the stage, and calling for six cornets, five trombones, and two tubas; or five trumpets, six ophicleides, four trombones, four tubas, and the like. His scores are filled with minute directions to the performers, especially to the drummers, who are enjoined to use a certain type of drumstick for particular passages, to place their drum in a certain position, and so on. His directions are curt and precise. Liszt, on the other hand, leaves the matter largely to ‘the gracious coöperation of the director.’ Experimentation with new and sensational effects made life thrilling for these composers. Berlioz recalls with delight in his Memoirs an effect he made with his arrangement of the ‘Rackoczy March’ in Buda Pesth. ‘No sooner,’ says he, ‘did the rumor spread that I had written _hony_ (national) music than Pesth began to ferment. How had I treated it? They feared profanation of that idolized melody which for so many years had made their hearts beat with lust of glory and battle and liberty; all kinds of stories were rife, and at last there came to me M. Horwath, editor of a Hungarian paper, who, unable to curb his curiosity, had gone to inspect my march at the copyist.’ '“I have seen your Rakoczy score,” he said, uneasily. '“Well?” '“Well, I feel horribly nervous about it.” '“Bah! Why?” '“Your motif is introduced piano, and we are used to hearing it fortissimo.” '“Yes, by the gypsies. Is that all? Don’t be alarmed. You shall have such a forte as you never heard in your life. You can’t have read the score carefully; remember the end is everything.”