 While a principle of highlighting "primary hues" of instrumental color remained in place, it was augmented in the later works by a sophisticated cachet of orchestral effects, some gleaned from other composers including Wagner, but many invented by himself.As a result, these works resemble brightly colored mosaics, striking in their own right and often scored with a juxtaposition of pure orchestral groups.The final "tutti" of "Scheherazade" is a prime example of this scoring.