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Emotionology, eh? Emotionology? Really?

Overlooking intricacies the Concepts despite contributing the cogent conceptualization of Musiotics your ideas are. I would say deriving Parallels which in itself, allowing despoiliation per se, (the Infinite within Cosmos and the Infinitesimal) disallowing Universal. It inanity is the music; Profane within compounded cannot be compared to the like and of Baroque music, the Classical neo-Romanticism. The context Beneath which of viewpoints rhombus Divine and not misconstruing integral Shifts, bijective and non-local. Relativism is blurred, "dividing by itself" another Which all Pretentiousness can muster. Therefore, Marzique, I postulate that you are wrong. --Ian Constaxulaxium Pazuria

I think one of the biggest lessons you can learn is that not every instrument has to play all the time. I mean, there are those jokes about how the bass drum only has one note after a quadrillion rests, but that's because that's the only time the composer felt the bass drum was needed. The beauty about writing for an orchestra is that you can use as much sound or as little sound as possible, and the most you can put that accessibility to use the more you can really create an effective sound. Sometimes all you need is a bassoon solo accompanied by glockenspiel, or to contrast the entire brass section echoed by the strings and woodwinds. Orchestra = flexibility! A composer once told me that they knew an orchestra piece was amazing because they saw so much white on the page instead of a bunch of clusters of notes in each instrument line. Good luck! I can leave more advice in the future. :)