Take an excerpt from a piece you’ve recently finished. Reorchestrate it three different ways. How dramatically does this change the way in which your musical ideas “work”? Do any of the alternative scorings seem to make your ideas clearer (or less so)?
Orchestration is the composer’s voice. How many otherwise promising pieces have fallen flat because of insensitive scoring? And yet it’s not uncommon to have orchestration relegated to the periphery of composer education.
Perhaps if you find yourself “blocked” on a piece, you should attack the problem from an orchestration perspective. Find ways to communicate your ideas in novel ways and you may find the breakthrough you need.