a Romantic music era-orchestra with over 100 musicians. In contrast, a low-budget independent film may only be able to afford a 20 performer chamber orchestra or a jazz quartet. Sometimes a composer will write a three-part chord for three flutes, although only two flutes have been hired. The orchestrator decides where to put the third note. For example, the orchestrator could have the clarinet (a woodwind that blends well with flute) play the third note. After the orchestrated cue is complete it is delivered to the copying house (generally by placing it on a computer server) so that each instrument of the orchestra can be electronically extracted, printed, and delivered to the scoring stage. The major film composers in Hollywood each have a lead orchestrator. Generally the lead orchestrator attempts to orchestrate as much of the music as possible if time allows. If the schedule is too demanding, a team of orchestrators (ranging from two to eight) will work on a film. The lead orchestrator decides on the assignment of cues to other orchestrators on the team. Most films can be orchestrated in one to two weeks with a team of five orchestrators. New orchestrators trying to obtain work will often approach a film composer asking to be hired. They are generally referred to the lead orchestrator for consideration. At the scoring stage the orchestrator will often assist the composer in the recording booth giving suggestions on how to improve the performance, the music, or the recording. If the composer is conducting, sometimes the orchestrator will remain in the recording booth to assist as a producer. Sometimes the roles are reversed with the orchestrator conducting and the composer producing from the booth. Texts Michael Praetorius (1619): Syntagma Musicum volume two, De Organographia. Valentin Roeser (1764): Essai de l'instruction à l'usage de ceux, qui composent pour la clarinet et le cor. Hector Berlioz (1844), revised in 1905 by Richard Strauss: Grand traité d’instrumentation et d’orchestration modernes (Treatise on Instrumentation). François-Auguste Gevaert (1863): Traité general d’instrumentation. Charles-Marie Widor (1904) : Technique de l’orchestre moderne (Manual of Practical Instrumentation). Nikolay Rimsky-Korsakov (1912): Основы оркестровки (Principles of Orchestration). Cecil Forsyth (1914; 1935): Orchestration. This remains a classic work although the ranges and keys of some brass instruments are obsolete Alfredo Casella: (1950) La Tecnica dell'Orchestra Contemporanea. Charles Koechlin (1954–9): Traité de l'Orchestration (4 vols). Walter Piston (1955): Orchestration. Henry Mancini (1962): Sounds and Scores: