Thanks for that information. Perhaps then, Caplet worked in the manner I suggested. But looking at 'La Mer' which is all Debussy's work, there is still the same structural trait. A 'blocking off' into chunks of orchestral tone color. Again those chunks seem to be about a days work for a professional composer, so maybe there is still something here. Take for example the 6/8 section which begins at bar 31; firstly four bars, then six bars with a strange French Horn melody, then 2 bars of ww and tremolando violins swell. This takes us to figure 4 in the score where more color change takes place in 4 bar chunks. It goes on and on. Do you know any thing about how he wrote? I know that Brahms wrote orchestral scores a bar or so at a time in full orchestration, so could the Debussy chunking effect which I describe be a result of this?