• Avoid the 'sectional' effect produced by constantly using contrasted groups of
instruments in turn.
• Avoid thickness (caused by too low and 'grumpy' placing of the harmony, or
by the desire to give instruments something to do).
• Avoid thinness (too wide spaces between the bass and the next part).
• Do not regard the brass and drums solely as noise-makers.
• Do not keep your horns going all the time.
• Reserve extreme high notes on woodwind and brass for fff climaxes.
• Remember that the strings are the foundation of the orchestra, and do not be
afraid to use them alone for quite long passages [...] In quiet passages use
'divisi' rather than double-stops. [...] Make sure that they [i. e., double-stops]
are easy to play.