 Closely tied to this concept is the idea of idiomatic writing, for if composers are unaware of or indifferent to the idiomatic capabilities of different instruments, then they will have little reason to specify which instruments they desire.According to David Schulenberg, Renaissance composers did not, as a general rule, specify which instruments were to play which part; in any given piece, "each part [was] playable on any instrument whose range encompassed that of the part.