Here is proof of Giacinto Scelsi"s experience of sound: more than half of his works are composed of pieces for solo instruments, about a quarter are "chamber" works, and the remaining quarter are works for full orchestra or chamber orchestra. The latter occupy a quantitatively limited portion, and yet tackling the broad, differentiated, and rich material of the orchestra did not entail any substantial change in compositional procedures, and still less in conception of sound.