Me trying to compose with only a little bit of theory

I started composing 1 year ago and i have learned a tiny bit of music theory since then but I still don't really know that much. Anyone else here who doesn't know a lot?

It's me.
I don't know much about music theory, and while I'd like to learn, as someone who chose not to go to a music university and hasn't received formal musical training, it feels difficult.
I think there are some people who started learning by themselves.
I'm aware that there are very useful tools available for learning it, but it takes time, and I haven't gotten around to it.
The problem with not learning about music theory in YCF is that my reviews are not going to be good.
I often feel that my feedback might not be all that constructive, but I imagine people are happy to receive impressions from others, so I write reviews as a way of giving back.
I have much respect for those who provide detailed feedback grounded in music theory, such as @PeterthePapercomPoser, @Luis Hernández, @Henry Ng Tsz Kiu, @MK_Piano, @Markus Boyd, @TristanTheTristan, @Wieland Handke, @Kvothe and others.

I usually use a synthesizer, so I don't directly need to use music theory for composing, but I think learning music theory brings more diverse ideas and makes compositions better.
So, I believe learning music theory is great.

In this post, @Kvothe kindly responded to my question about how I can learn notation.
It's about notation, not theory, but please check it out for your reference.

Best,

Lithl.

Thanks for the tag @Lithl

It’s difficult to recommend how one should learn ‘music theory’ on here without understanding what type of music they wish to compose. This forum is so diverse and it is thus inappropriate for me, for example, to apply the 18th century paradigm (that i’ve trained myself in) in a generalized way, as if all other paradigms are dependent on its method. So before I even attempt to answer that question, understanding one’s intentions is often my starting point. That said, I do believe in learning the fundamentals of tonal music before branching out into one’s preferred domain.

Start by understanding what makes you passionate in music. Which composer’s music resonates with you most? Does their music influence your own aspirations?

Next, listen widely. I listen extensively to music largely in my preferred idiom (18th century and early 19th century) and many of the patterns and narrative techniques associated with that school have become more or less embedded into my consciousness. This doesn’t help with theory per se, but it is invaluable for generating my own melodic ideas. Crucially, it will be your own passion that will lead you down which rabbit hole.

I have books i can recommend to aid your journey, but i’d rather understand your intentions first. There is an analogy that likens the knowledge of music theory to that of an iceberg: the deeper one goes, the more specialized that knowledge becomes. But it is worth recognizing that different styles of music will have their own ‘iceberg’. We do not master them all, but tend to focus on that relating to our own preferred domain (eg. Jazz, common practice, romanticism, serialism, modal, cinematic, etc…).

Feel free to message me directly with any questions you may have.

Edited 5 hours ago5 hr by Markus Boyd

There are all kinds of opinions on this.

I think learning music theory is very helpful if you want to be a composer.

Of course, you can compose without knowing anything—by ear or intuition—but the possibilities that open up when you have more knowledge will definitely make your compositions better.

I don’t think you need to know a lot—or even a little—about music theory, or anything else for that matter, to comment on compositions in this forum. There’s an intuitive, emotional aspect—and so on—that we all have, and that’s perfectly fine to discuss. Simply saying “I liked it,” “it reminds me of this,” or asking a question about the piece is a positive way to comment.

Nor do I think that knowing theory—or anything else for that matter—requires formal training at an accredited institution. I do think, however, that if you want to make serious, steady progress as a self-taught musician, there will be times—and in certain disciplines—when you’ll need guidance from someone: a teacher, a workshop, etc.

That’s been my experience. I’ve always been self-taught in music (in fact, my profession is something entirely different). But I took a formal course in tonal and modal harmony, as well as some courses in harmonization and arranging.

Later, taking a course in counterpoint was essential, as was a seminar on fugues.

Another essential course was the one I took on Contemporary Composition Techniques.

And finally, the one I’m taking now on orchestration.

With that foundation, I can tackle anything that comes my way, understand it, and put it to use.

I also believe that the foundation of it all is tonal harmony and the common classical period, from the Baroque to the Romantic era—even if you’re later interested in another style.