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I cannot know how much theory I use, is kinda automatic, I don't think "I'm gonna move this because is wrong" instead I follow very much the feelings, "I'm going to change this because it isn't sad, and it should be" or "this sounds too happy" or "this is too silly" etc... Of course music theory is used in the process but it's almost an unconscious process.

Do you think today's larger orchestras wont play the smaller scored works, because they are too big for that. I don't think so. They just don't hire the 3rd player, or they program a concert for a smaller orchestra, or indeed let them sit silent (tacet) I most certainly wont advise you to increase your instrumentation, just to let it played by others; you're the boss, not the other way around :) I saw this was your first post, so let me welcome you here. Feel free to look around, comment, and we hope to see your music here as well. Jaap

Bingo. What in this case qualifies as "music theory?" If you label it as any given musical framework (be it microtonality, counterpoint, serialism, etc) then you can ex-post-facto claim that all music ever is based off music theory, and the composers must've thought about it consciously or subconsciously. Honestly I don't mix both things. To me composing is freeform, you can use whatever you want in whichever way you want. That means: Yes you can. You can do whatever you want. And Besides the false analogy, it would only begin to make sense when talking is free art and we can say whatever we want. In that context, no you wouldn't be forced to use grammar at all, if you didn't want to. People have different methods for composing and see things in different ways, let's never forget this.

I strongly disagree with this. Yes, you can purposefully ignore the 16th century rules but you still have a degree of unity that you have to work out prior to putting melody 1 with melody 2. You can't just slap the two together and call it a piece.

Er, well that's something else then. It still comes down to redundancy, like I said you can say everything ever has a theory behind it. I don't see the point of saying that since it brings nothing. You can make up your OWN theory based on other people's music and, behold, that's what everyone understands as "theory" today. I says nothing about the method of composing, just your own interpretation of what you see on paper.

This is my tribute to HaydnThis sonata is divided in 3 moviments:Allegro-adagio-prestohttp://www.youtube.com/watch?v=uf39NUQb4BUthis is a my arrangiament of winds intruments all parts played in multi recording of my amaerican friend Len Anderson Sonata in the Haydn stile