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I have never heard of this rule. On the face of it, it just doesn't make sense. It is the ear's job - the human's - to retain the notes played over time, whether arpeggios or melody, or block chords in a progression. I don't get what this guy is saying. First off, minor 7ths don't resolve the way dominant 7ths do. In any case, "retaining" them at all times doesn't make sense. See the thread here: "Chromaticism" where I explain the functions of 7th chords in detail.

Can you be more specific? What do you mean by dropped? Chord change from what chord to what chord? An example would help.

Hi ansthenia, I agree with SYS65: listen to orchestral music and read the scores at the same time. If you hear a sound you are interested in, stop and figure out how the composer made it. You can find TONS of free PDF scores in the public domain at imslp.com. I think Brahms' 4th symphony would be another one to check out. And you're on the right track - big orchestral chords often contain lots and lots of doubling. When I write orchestral music I will often write a piano score version first (kind of like your 4-part harmony excercises). Make notes for yourself along the way for different instrumentation. Then score it for the full orchestra afterward. That's one way to go about it, and I know many composers who do this.

Anything can... Note: In case you're in a school and teacher says you have to do what book says otherwise is "wrong". then do it like they say while you finish school.

The best answers you will find them on the scores themselves, start studying orchestral scores, and try to play them in piano, you won't play every single note on score but try find in piano the main idea of what the composer could have had before completing the orchestration, I recommend for you to start with Sibelius "Finlandia" and "En Saga", or Grieg "Peer Gynt Suites 1&2".