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Why can't America adopt a simple "70 years after death" rule like the rest of the world? Or does this already exist? ...

The Adler, as CO said already, is very good for the nuts and bolts of orchestration. This range fits with that instrument and this instrument sounds good with others etc. His orchestral examples are very good too. Where it does a not-so-good-job is with Macro-orchestration or orchestration on a large scale, i.e. the stuff that isn't the nuts and bolts of orchestration. He doesn't work on how to properly write for the orchestra as a whole (but individual choirs its pretty good, could be better). He also doesn't go through the advanced subtleties of orchestration that exist if much of the modern repertoire. This is why I find Study of Orchestration is a good suplimental tool but not alone for orchestration. Study your scores for the best examples! It's better than any textbook.

Personally, I don't think Creative Commons allows enough rights to the composer. I like to get paid for my work and not have it stolen. But that's just me.

Such as?

A Missa Brevis (Brief Mass) for Choir and Organ. It uses the traditional Catholic Mass liturgy but eliminates the Credo movement.Movements:I. KyrieII. GloriaIII. SanctusIV. Agnus DeiPlease comment and enjoy. Missa Brevis

Umm...why not? Why should we take time out of our lives to critique your pieces if you won't do the same? It's a matter of common courtesy man!

Yeah, but it isn't very good...

you're talking modal harmoney, which don't have a "proper" dominant, as you recall, for natural minor the V is minor, and so the "dominant" for natural minor is the VIIb . it is called a "cadence" function. for example: if we are on C lydian(F# on scale), we got I, then the II will be major chord, and is a strong cadential function. you should avoid going from II7 or II to IIIm or V because that is a ionian movement. the #IV-7b5 is an avoid chord since it sound also like a dominant of the ionian scale. it is also common to use the root of the tonic mode (lydian in our case) as a pedal point, and move the other triads accordingly to emphasize the modal quality. for example |Bb | Bb | Bb | Bb | C/Bb | C/Bb | C/Bb | C/Bb | improvising over the sound of lydian: IIIm going to IV and the lydian scale is over the IV. IIm6 >IIIm