These reformers really resuscitated a style of musical declamation, and their music better expressed passion and the like. There was a monodic exchanging of contrapuntal richness for the simplest of melodies, confined to a single part, and accompanied by bass of the rudest type and construction. The melodies were destitute of figure and the composers really aimed at exact oratorical rendering of the words. The possibilities of orchestral coloring were limited and the dry style of recitative really dramatically untruthful. There was little variety of contrast. This weakened the true power of the drama by the introduction of measured melody and formally constructed movements. The libbrettos were carefully considered at first, but finally declined, and more and more attention was paid to the aria and the various concerted music introduced without regard to the dramatic tendencies. The rules became strict, and it is not difficult to see how the operas became a concert in costume. We find a quotation of the rules:-- 1. A woman always took a man's part. 2. Characters were stereotyped. 3. Position of the aria was determined to give entrance impressiveness. 4. The solos, duets, choruses and ballets were arranged artificially to suit the convenience of the performers and without regard for the dramatic context. Monteverde has been termed "the Italian Wagner". He never ventured to introduce flowing melody save in the ritornello. His music was dramatic and he increased the dramatic scope of the recitative. His "Orfeo", 1607, contains the first dramatic duet. He was an innovator and gave a new developement to the harmonic system. His influence may be summed up as follows; I. He made operatic recitative more melodious and expressive. II. He boldly used unprepared discord to express dramatic emotions. III. He greatly enlarged the orchestra, used special, appropriate groups of instruments to accompany characters, and employed separate combinations to announce the return and entry of persons. In his "Arianna" the widening influence of his orchestra developed to thirty-six instruments, including violins, trombones, trumpets and three small organs. He invented the pizzicato and tremolo on the violin. In his "Orfeo" there are parts for the harpsichords, lyres, violas, double basses, double harps with two rows of strings, two violins, guitars, organs, flutes, clarions and trombones. The apportionment of the instruments was as follows:-- The bass viols accompanied Orpheus. The violas, Eurydice. Four Trombones, Pluto. The organs, Apollo. The guitars, Charon. The flute registers of the organs, the chorus of sprites.