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Thinking, "I should write a theme first and then a contrasting one," is exactly the sort of thinking about form that he is discussing. You sound like you are well on your way to thinking about the large scale issues with a piece, rather than just writing note by note. It sounds like he's talking about how beginning composers just sort of work from one note to the next without any rhyme or reason. There may be no theme at all, just a random succession of notes that they liked for five minutes straight. Everyone works one note to the next, but the more experience you have, the more you'll be thinking ahead about how to organize yourself in the choosing of those notes. Thinking, I have a fast section, so next I should have a slow one for contrast... that sort of thing. Or, I'm going to have range issues if I give this bit to that instrument without modulating. Do I want to modulate, or do I want to give it to a different instrument... And he wants to suggest some simpler exercises to get you started thinking about these sorts of things before you decide to write a whole symphony. Use fewer instruments. Write a short theme and see if you can turn it upside down. Practice writing a fugue. Also, Schoenberg is writing in a way that makes him sound like a big smarty pants so he can scare you into doing your homework, so don't be intimidated into a state of confusion, just do the exercises. (My best guess at what he was going for at any rate).

Hey @Krisp! Sorry for a very belated review. I only remember to review this wonderful piece of music until I see your name on the member list! I love the 5/8 time signature very much, in a sense an omen to signify the premature death of the poet with the rushing rhythm., but also well fit to the poem’s subject of chasing a girl! Your modulation is always wonderful, I love your modulation in b.30 to F sharp minor very much, reminds me a lot of Schubert and Schumann. The 2nd stanza begins will a mellow E major and a soft tone of your voice, matching very well to portray to girl’s beauty. And the hunger for sex is really showed in the next stanza with those forceful chord, signifying the uncontrollable Id and Libido. The cool down and then arousal of sex desire, then the breakdown is so fascinating. Your music is always full of content. I can’t imagine in just 2 minutes you already told us a great poem with all those dramas and structure. Very fascinating to listen to, and thx always for your sharing! Henry