One of the things least understood by the untrained composer is the idea of construction. That is weak versus strong construction (regardless of style.) Mainly this has to do with partials and overtones and how they resonate in vertical structures. Also the movement between these structures can be strong or weak. Counterpoint also contains vertical structures that result from horizontal melodic movement. This horizontal movement can itself be strong or weak in it's construction. We have all heard good (strong) melodies and bad (weak.) The balance between these two pillars of musical construction (vertical and horizontal) contains much of the essence of music to the point that a good grasp of them will give the composer much of what he needs to rise to the art.
There is often a debate in various forums about study and rules. When it come to orchestral composition one should consider that the percentage of world class musicians who play this music and have never studied or learned the rules is right around 0%. Yet so many who want to write for these dedicated souls can't bring themselves to take a lesson ot two (let alone the lifetime of study the players have had.)
Sorry to say an untrained composer will usually sound like an untrained fiddle player.
There is often a debate in various forums about study and rules. When it come to orchestral composition one should consider that the percentage of world class musicians who play this music and have never studied or learned the rules is right around 0%. Yet so many who want to write for these dedicated souls can't bring themselves to take a lesson ot two (let alone the lifetime of study the players have had.)
Sorry to say an untrained composer will usually sound like an untrained fiddle player.