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One thing to look at when orchestrating a phrase is the ebb and flow of the phrase itself.
At first, forget about analyzing the music.
Look at it graphically.
Where does it rise/fall.
Where are there obvious phrases that fit together, or patterns that repeat.
Look at dynamics and where they are.
Remember to orchestrate the dynamics (see the lesson threads).
You can even simply make big brackets that cover sections of the music to divide it up into its componant phrases. This will help you in assigning instruments and help you to avoid instruments popping in for only a few notes and just not "fitting in" to the over-all structure.
Remember that each set of instruments (each family in the woodwinds) has a characteristic tonal quality.
Remember that some instruments have their strength in the lower register, while others are more at ease in the upper register.
Remember to consider how some timbres can be layered with others to create new timbres (again, see the lesson thread).
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"Those that know, do;
Those that understand, teach."
-Aristotle-
"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-
In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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