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Strings > Woodwinds > Brass is a pretty okay rule to follow (or at least it was what I was taught) most of the time when it comes to orchestration, in regards to playing frequency. It's more broken in canonical or fugal stuff where the idea is that the new voice is heard (unless you're Ligeti or Lutoslawski where they intentionally try to hide it). Because of this it's mostly homophonic stuff you'll need to watch out for and WW/brass density in terms of pitch structure also contributes to a psychoacoustic sort of overpowering rather than a necessarily acoustic one.