easurably upon the music, or the use to which the band
is to be put. Neither in instruments nor in numbers is there absolute
identity between a dramatic and a symphonic orchestra. The apparatus
of the former is generally much more varied and complex, because of
the vast development of variety in dramatic expression stimulated by
Wagner.

[Sidenote: _Symphony and dramatic orchestras._]

The modern symphony, especially the symphonic poem, shows the
influence of this dramatic tendency, but not in the same degree. A
comparison between model bands in each department will disclose what
is called the normal orchestral organization. For the comparison (see
page 82), I select the bands of the first Wagner Festival held in
Bayreuth in 1876, the Philharmonic Society of New York, the Boston
Symphony Orchestra, and the Chicago Symphony Orchestra.

[Sidenote: _Instruments rarely used._]

Instruments like the corno di bassetto, bass trumpet, tenor tuba,
contra-bass tuba, and contra-bass trombone are so seldom called for in
the music played by concert orchestras that they have no place in
their regular lists. They are employed when needed, however, and the
horns and other instruments are multiplied when desirable effects are
to be obtained by such means.

[Sidenote: _Orchestras compared._]

New York
Instruments Bayreuth. Philharmonic. Boston. Chicago.

First violins 16 18 16 16
Second violins 16 18 14 16
Violas 12 14 10 10
Violoncellos 12 14 8 10
Double-basses 8 14 8 9
Flutes 3 3 3 3
Oboes 3 3 2 3
English horn 1 1 1 1
Clarinets 3 3 3 3
Basset-horn 1 0 0 0
Bassoons 3 3 3 3
Trumpets or cornets 3 3 4 4
Horns 8 4 4 4
Trombones 3 3 3 3
Bass trumpet 1 0 0 1
Tenor tubas 2 0 2 4
Bass tubas 2 1 2 1
Contra-bass tuba 1