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Charles Caputo was moved by music from an early age. The rock, pop and folk music of his youth laid the foundation for his lifetime dedication to the field of composition. During these early years, music became a refuge of hope and inspiration to him as he taught himself guitar, piano and drums.

Later he started studying music composition and theory as a young teenager in high school along with creative Music writing courses during the summer months. With further lessons in piano, guitar and drums he supported himself by working as a private instrumental music teacher. Later after joining various original rock bands as a drummer, he worked with the house band at "My Father’s Place" in Roslyn, N.Y.. There they backed up Talking heads, (with excellent reviews from News day), along with Flo and Eddie and other well known acts in various other New York venues.

Still later he obtained three undergraduate degrees in Music along with a M.A in Music Theory and Composition, and has been working as a band director/general music educator in the NYC. Dept. of Education. At this point he became a multi-instrumentalist which expanded his compositional skills. His compositions have been featured on Manhattan cable TV, as well as at various NYC school venues where he works and composes for his bands. Recently one of his pieces was forwarded to Studio 51Music (Harpo Productions) and three of his guitar pieces will be featured on an up and coming world music CD


Music and other aesthetic experiences play an important role in human  development. They help provide the vision and thrust for the future.

It’s been said that my compositions are minimalistic on which I use simple forms. This could be attributed to my early love of rock and other popular music which use repetition. I believe the whole purpose of music is to move and aid people, and using repetition and the forms they’re familiar with is the best way of accomplishing this.

A technique I use in my writing is my theory of "fresh ears". I believe that after composing, most composers tend to think that their writing sounds better than it really does. ( in fact I found that the more one listens to mediocre music; the better it sounds! ) A composer can not get an objective critique of their music until one forgets how it sounds and listens to it again with fresh ears. (This is the way the public will hear it.) If it doesn’t sound good then one can either rewrite it or move on to the next piece. (This also applies to my mixes when I’m in the production stage of my piece.)

If rewriting, then one may have to do this a number of times before they get satisfied that they obtained the highest possible aesthetic level to their works. At the same time, a composer needs to be careful not to rewrite too many times since this can also ruin a piece.

Another technique I use when naming pieces or writing lyrics is allowing the music to lead. This means I don’t force my own title or lyrics on a piece, but I wait to see, (no matter how long it takes), what title or lyrics really fit to the music.

In summary, I believe that the aesthetics of music are not only the most important aspects of music, but also the most neglected elements at this historic moment.I believe that a composer’s prime directive is to write emotionally charged music that is both aesthetic, and effective. Music that will be remembered and around for years to come.