Between 1770 and 1890, the mature classical/traditional music was homophonic, and much emphasis was placed on melody. The era was also quite formal in form and structure and tended towards ‘pure’ music that did not really focus on feelings or drama, and seemed to increasingly emphasize the potential of orchestral color to be evocative. This was in the romantic era, in which key use was traditional, and a piece was firmly based on harmonic ‘home’ keys, using dissonance as the primary means to create tension and leading the audience towards resolution. Generally, in music, the word ‘Classical’ refers to the music that was composed during the period from 1750 to 1810. Although quite brief, this period is inclusive of the music of composers like Mozart, Haydn, and Beethoven. As the classical style evolved and acme to maturity, more emphasis was placed on the qualities of the beauty of the melody, grace, form, control, moderation, proportion, and balance. Classical composers like Mozart, Haydn, and Beethoven tended to strike a somewhat perfect balance between formal structure and expressiveness in their music. One notable composer of opera during the classical era was Gluck (1714 – 1787). He was known to react against the over-decoration and superficiality of opera in his time. Gluck felt that that music was supposed to serve the story, and not the other way round. “Singers had taken on such importance that the action was frequently held up while they were allowed to show off their technical brilliance. Gluck decided it was time for this to change. He first put his ideas into practice in his best-known opera which was performed in Vienna in 1762 (Lippman, Edward 1992 p.15) Gluck’s explanation was that in drama and opera, the music should serve the story. “The action should be more continuous avoiding interruptions merely for vocal display. Instruments should be chosen and used to suit each situation in the story, and the overture should prepare the audience for the nature of the drama that was to follow.” (Kivy, Peter 1980 p. 192) Mozart (1756 – 1791) through his instinct for dramatic and his musical genius, transformed opera and depicted a keen observation of human nature. These instincts enable Mozart to imbue warmth and liveliness into his characters. “While creating a deeper understanding of the character, instrumentals often help to carry the story forward. Mozart makes the final scene of an act into an elaborate structure during which all the characters join in an ensemble, but with each character voicing his or her own reaction to the situation that has come about. The orchestra in a Mozart opera plays an important part in the unfolding of the story, even while expressing the mood and enhancing the importance of the voice.” (Frye, Northrop 1956 p. 31) At some point during the classical era, instrumental music started becoming more important than conventional music for voices. This was something new in musical history, and a lot of music started getting written for piano, which possessed quite a lot of expressive power. It became possible for pianists to suddenly contrast between loud tones and soft tones. It also became possible to control different shades of volume and tone. The volume of sounds and tones could also be increased or decreased gradually, and it was possible