Finally i find a very clear example of a technique I used a lot, and in some sense discovered alone. This is: to add a new instrument when another group of instruments reach its peak.
The attention of the listener is distracted with the tutti, and will be surprised by the way another unexpected sound rises from it.
This is very useful to connect different sections of orquestral music. For the first time i see someone doing this an intention so clear as I did in some pieces. The key here is to use this technique in order to present unexpected timbres and instruments that come “from below” the other tutti of instruments being played.
You can also use this technique in a more conventional way, just adding conventional sounds that were no used before. For example, if the flute was not playing so much in your piece, perhaps the next climax will be the perfect moment to set it in action?
I believe there are many cool examples of this powerful technique, and would be happy to explore it more later, also showing my own examples!
Hear the piece of Fukamachi later to perceive the sound in context, otherwise it is hard to tell how amazhing his idea was.