what Jacobs terms his "'counterpoint of characters': the presentation by different personages of two seemingly independent tunes which later come together" simultaneously. He was not the first composer to combine themes in this way, but in Jacobs's phrase it became almost "the trademark of Sullivan's operetta style". Sometimes the melodies were for solo voices, as in "I Am So Proud" (The Mikado), which combines three melodic lines. Other examples are in choruses, where typically a graceful tune for the women is combined with a robust one for the men. Examples include "When the Foeman Bares his Steel" (The Pirates of Penzance), "In a Doleful Train" (Patience) and "Welcome, Gentry" (Ruddigore). In "How Beautifully Blue the Sky" (The Pirates of Penzance), one theme is given to the chorus (in 2/4 time) and the other to solo voices (in 3/4). Sullivan rarely composed fugues. Examples are from the "Epilogue" to The Golden Legend and Victoria and Merrie England. In the Savoy operas, fugal style is reserved for making fun of legal solemnity in Trial by Jury and Iolanthe (e.g., the Lord Chancellor's leitmotif in the latter). Less formal counterpoint is employed in numbers such as "Brightly Dawns Our Wedding Day" (The Mikado) and "When the Buds Are Blossoming" (Ruddigore). Orchestration Hughes concludes his chapter on Sullivan's orchestration: "[I]n this vitally important sector of the composer's art he deserves to rank as a master." Sullivan was a competent player of at least four orchestral instruments (flute, clarinet, trumpet and trombone) and technically a most skilful orchestrator. Though sometimes inclined to indulge in grandiosity when writing for a full symphony orchestra, he was adept in using smaller forces to the maximum effect. Young writes that orchestral players generally like playing Sullivan's music: "Sullivan never asked his players to do what was either uncongenial or impracticable." Sullivan's orchestra for the Savoy operas was typical of the theatre orchestra of his era: 2 flutes (+ piccolo), oboe, 2 clarinets, bassoon, 2 horns, 2 cornets, 2 trombones, timpani, percussion and strings. According to Geoffrey Toye, the number of players in Sullivan's Savoy Theatre orchestras was a "minimum" of 31. Sullivan argued hard for an increase in the pit orchestra's size, and, starting with The Yeomen of the Guard, the orchestra was augmented with a second bassoon and a second tenor trombone. He generally orchestrated each score at almost the last moment, noting that the accompaniment for an