I'm also hooked on orchestration, the BIG SOUND. If we think of the elements of music as melody, harmony, rhythm, tone color, and form (which are usually essential elements in your old Music 101 course), orchestration is the manipulation of tone color (the sound qualities of the instruments themselves). Berlioz is the first composer that emphasized tone color as much or more than the other elements. Composers before him did not have the variety of instruments he had to work with, so tone color was not a big issue before 1830 (Symphonie Fantastique). He had the idea of PAINTING PICTURES in sound. The greatest developments in PAINTING during the 1800s took place in FRANCE. It's not unreasonable that it should have been a French composer who tried to translate pictures into music. Berlioz was the right man at the right time and place. His ideas, embodied in his Treatise on Instrumentation (which I've only read ABOUT), generated a new (19th C. style as in Liszt and Wagner), as opposed to old (18th C. style as in Brahms and Mendelssohn) direction in music. <BR> Rimsky-Korsakov, in his autobiography (which I HAVE read), told of how, as a novice music professor, he used Berlioz's book "as a new bride uses a cookbook". In my own enjoyment of orchestration I've thought about the "3 Rs of Orchestration" (my own designation), Rimsky-Korsakov, Ravel, and Respighi. Respighi, by the way, studied partly under Rimsky-Korsakov. There are certainly others, including Berlioz, himself, but "3 Rs" is catchy. After all, "the 3 Bs" (whose greatness has to do with another element, form, with its thematic development) leaves out Mozart, but that doesn't stop people from using the catchy "3 Bs". I hope my pontificating on subjects of special interest to me doesn't annoy anybody. It's a very classy clientele at this web site.