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Hello! (I came here from @Lithl's tag. Thank you! Btw I am listening to Saint Saens Concerto 5! It's great. You should try too!) So I don't believe you need any music theory to start composing, but to get better, and faster at the 'getting better', you do need music theory. I am technically a self-taught composer. I only started music theory lessons last year. I literally just write what I think would sound good. Here is a sample. Idea pops into brain during important test. (I am thirteen so I am still in school) I finish writing the test but idea is still there. I finish the rest of the day without forgetting the idea. I forget it on the way home. I re-remember it after like 5 hours. I go on musescore and write it. And just pay attention to a few stuff. Try to prevent parallel motion. Only later I was taught this was actually theory, but I first came up with this when I was seven. Voice leading! Very important. Same as the one before, but I came up with this when I was six. Try to break the rules 1 and 2 effectively. Got it? It is simple. Music composition is like a huge field, something like 内蒙古. You start from different places and go to different places. You do whatever you want. Whatever you think works. You will gain self-consciousness gradually and therefore improve. When I was nine, I thought I was good at composition. Now looking back, although still better than my classmates', it is nothing compared to my work now and some of the fellows on this site, YC. I see you are new, and that's not a problem, and by your state right now, it seems like you are very interested in composition. Good news! That's the first step to become a good composer or good anything. You are intrigued by it. When I first joined, this is what @Thatguy v2.0 said to me not long after I joined. Thank you once again, @Thatguy v2.0!!! @Woofi_9 Good luck! P.S. @Lithl Your reviews are not bad, they are great! Although it may not be backed up with music theory, it gives a listener's thought on the music. Very important. -TristanTheTristan

@CrystalCanon Thanks for listening; I'm glad you liked it. This set of notes is very small—just four—but I saw it in a piece by Schoenberg and wanted to experiment with it. It’s hard to point out all the relationships in this short piece, but practically everything is derived from that set. Horizontal sequences appear, as well as vertical chords—rotated, inverted, and so on. I think the genesis of these pieces is like that of all others: planning a structure, marking the cadences, and planning the climactic moments, as well as the moments of tension and repose. From the previous version for solo piano:

For 13 years old, your command of the english language is excellent!. 🙌

Yes, I have issues with bipolar disorder. It typically manifests in longer depressive states than manic ones. I find that I do most of my best writing during those, whereas in the manic episodes my mind is too jumbled to come up with ideas. I’ve also noticed that when in those depressive periods, my music actually tends to be less dissonant. While I usually write more dissonant pieces when I’m feeling more normal.

Welcome all. I'm back with more of Frank Bridge's "Fairy Tale". This movement was really fun to orchestrate! I thought tuba and contrabassoon would be good choices for an ogre. Hope you enjoy. Bridge - A Fairy Tale 2. The Ogre (orchestration) #14.mp3 Bridge - A Fairy Tale 2. The Ogre (orchestration) #14.pdf

Hello! I present to you guys my Second Ballo Ongaro, for Strings, Basso continuo and Cornettos. The first Ballo Ongaro i made was roughly in the style of Danischer Simplicimus, wich has a collection of instrumental and vocal music that tries to mimic various styles around europe at his time (Even though most of them were not even close to what it actually sounded like). So in this one i decided to give it a bit of my own style, but still with some details from Simplicimus, wich are mainly the use of a lot of dotted note figures and short phrases. I hope you enjoy! LOB 114 Il Secondo Ballo Ongaro.mp3