This statement addresses the overall organization of the piece. In a certain sense it is difficult to imagine how form in some sense could be non-existent in music. On the other hand, when music goes to the other extreme and refuses to revert to any point, either rhythmic, melodic or harmonic, which recollection can identify, it is equally formless. The composition reflects shape and design, and creates the impression of conscious choice and judicious arrangement on the part of the composer. This statement seeks to be a bit more specific in the area of form.
Cooper speaks of control in organization.
The composition reflects craftsmanship in orchestration, demonstrating a proper balance between transparent and tutti scoring, and also between solo and group colors. This criterion applies to the composer's control over texture and color. Rogers establishes an analogy between the artist's palette and the selection of instrumental colors in music. He indicates that single families and solo instruments are transparent, and that mixing produces secondary shades. Increased mixing and doubling leads to neutrality and grayness in color.