Books like The Elements of Orchestral Arrangement by William Lovelock

Although titled *Orchestration*, this tome is more *instrumentation* than orchestration. Forsyth goes into considerable detail with regards to how the different instruments of the orchestra work and what they are capable of, as opposed to how they are used in an orchestral context, which is mostly implied. Copious examples are provided throughout the book from classical repertoire, though given the original publishing date, these do not include anything composed after 1914. Forsyth also includes many instruments rarely composed for, either due to rarity or to obsolescence, such as less common transpositions or antiquated instruments. This thoroughness is appreciated however, as they contribute not just to completeness, but to the overall theory of the various instrument types. Throughout the book, Forsyth speaks in an irreverent tone, especially for the period, and will often discuss at length topics for which he is passionate, especially when he dislikes something. Following the initial printing, he even begrudgingly included an additional chapter on the highland bagpipes, having received a letter from a reader who was offended by their initial exclusion.

Berlioz's Orchestration Treatise is a classic textbook which has been used as a guide to orchestration and as a source book for the understanding both of Berlioz's music and of orchestral practice in the 19th century. This is the first new English translation of Berlioz's complete text since 1856, and it is accompanied throughout by Hugh Macdonald's extensive and authoritative commentary on the instruments of Berlioz's time and on his own orchestral practice, as revealed in his scores. It also includes extracts from Berlioz's writings on instruments in his Memoirs and in his many articles for the Parisian press. The Treatise has been highly valued both for its technical information about instruments but also for its poetic and visionary approach to the art of instrumentation. Berlioz was not only one of the great orchestrators of the nineteenth century, he was also the author with the clearest understanding of the art.