Hello all. I'm Carlo, 28, from London. This is my first time posting here. I'd like to share a small selection of my work with you all. https://m.soundcloud.com/1xgetvbredqw I work with absolutely zero classical training, nor knowledge of musical theory. I compose my work using a two octave midi keyboard and a daw called Reason 3. When you listen to my music, I want you to feel something beyond technical aptitude, of which I have none. I work very slowly, sensing how notes feel to me. I tend to work sounds around an emotion or mental state. Similarly, I have no knowledge of notes, chords, progressions, harmonies, scales, time signatures. I know that things like that exist, but are unable to knowingly use them. I am often times at a loss to translate my musical feelings into a piece because I lack this fundamental musical language. On the other hand, I find the creativity that comes with stabbing into the dark to be highly rewarding. Yet, as my tracks play, I hear so much more within them that I am unable to convey. I would like to sit down with some "proper musical people" and allow them to help me further shape my work. If anyone on here could give me advice, input or feedback for particular tracks I would be very grateful. I would be very interested in you telling me what I am doing technically. For example, what key a peice is in, wether or not I'm using chords correctly, is my timing way off? Etc. I've been told I have a natural ear for space and silence inbetween notes. Thankyou all. Please listen and comment below :)

You need to be a member of Composers' Forum to add comments!

Join Composers' Forum

Email me when people reply –


  • >There are a number of reasons why people seem to think that learning music theory will do bad things to their creativity. They're all bull excrement.

    >And the "I don't want to take lessons, because I want to develop my own personal voice" is a lame excuse.

    These kinds of statements really need to be addressed and discussed--but this is taking away from Carlo's thread, so for now please see:


    taken from this search:


    Thank you


    Carlo wrote:

    "I work with absolutely zero classical training, nor knowledge of musical theory.

    When you listen to my music, I want you to feel something beyond technical aptitude, of which I have none."

    It is beyond remarkable and so extraordinary what youve accomplished here Carlo--with ZERO training, no less, and no rules, formulas, or anything of the sort - only guided by your heart soul and inner being expressing itself to go by. There is more originality and substance in my opinion in your music than many if not most of the music Ive heard, and I cannot applaud you enough. Your voice, honest and original,  is singing and developing, and is really something to see.

    I wouldnt for a second mess with how youre doing things..I might suggest for at least the immediate future, (and for my money, forever :)) to help your original voice continue growing,  to nurture it-NOT with rules and formulas, theory etc-but by listening online to those whose music speaks to you, and learn from them techniques you like and might try a version of in your music. No theory is needed for this--simply listen observe and then write down in a few words what the gesture is and does--the gist of it, very simply and try it in your music.

    Of those Ive listened to a Healthy Dose (of paranoia) and The World,  my love really are EXCELLENT pieces of music--A healthy dose so very original and The world so beautifully expressive..all again, with NO theory or training to "guide" you.

    Please keep allowing your original voice to grow, sing freely and develop and not let rules or theory possibly stifle it. Youve come further than most whose music I hear and all with NO training..unreal,  congratulations, and please keep going forward. Please DONT mess with success!!

    I very much look forward  to hearing much more of your music in the future, Carlo. Thanks for sharing!

    Thanks Bob https://soundcloud.com/bob-morabito

    List of autodidacts
    This is a list of notable autodidacts which includes people who have been partially or wholly self-taught. Historical education levels Because of…
  • Carlo,

    I think Bob P makes a very salient point which you might want to consider. Lasse too has suggested another valid way forward.

    As I was writing my first post to you, I could hear Bob Ms' response almost word for word in my head and I am glad he has chimed in with a different perspective. Bob M and I have different approaches to composition, but in your case, I can't help but agree with a lot of what he has said.

    Take the autodidactic approach. Despite my formal musical education, I consider myself 90% self taught because music is so subjective. My approach was like a formal version of what Lasse has suggested, but  I assimilated any techniques of interest very quickly because of my training.

    Bob M also talked about nurturing your raw voice, rather than focusing on technique. I suggest you take to learning theory a bit at a time (after perhaps learning how to read music) and cherry-picking what you deem useful and pertinent to your aesthetic sense. This way, perhaps you wont stymie your initial instincts, but rather enhance them. Having said that, you may well find Bob's way more suited and he and many other composers are living proof that it can be done.

    Whatever you decide, I think it would be useful if you could learn to think and plan ahead in your pieces in order to achieve a more satisfying expression. You have some suggestions now as to how that can be done - by developing a sense of melodic and harmonic flow. You now need to study and I particularly like Bob's suggestion of listening to gesture and aping it as it will give you a sense of how musical rhetoric can be achieved by creating longer phrases and statements for emotional effect, as well as focusing your mind on that particular aspect of composing. I'd still cautiously advocate some basic theory training though as this would in my view facilitate the learning process.

    Ultimately the way you decide to learn should all come down to what you want to achieve in your music. Is it going to be a career, a hobby, or a fulfilling of a profound creative urge? As it stands, your music has a uniqueness to it, but some folks may be bewildered by your harmony and tempering that might just turn you into another clone. There are no answers from strangers Carlo, only you can decide on your future music and for that you have to ask some serious internal questions. Listening to what you admire as Bob and Lasse have said is a good place to start in my view too, followed by aping and assimilation into your own way - this approach can be done via theory and/or instinct.

    I'm sure I speak for all of us here in inviting you and others for that matter, to post examples of your progress as you go and if we can help by offering critique and pointing out anything you may have missed, we sure will.

    BTW thank you for your kind comments on the P+Fs, I'm glad you liked them. More importantly I am glad you discerned the development of motifs and how they can be manipulated to create extended statements. 

  • Hi Carlo,

    After so much good and sound advice and criticism that you have been offered so far in this thread from all composers I could hardly add anything.

    I listen to 6-7 of your pieces and I found something good in all of them. Obviously I have my best like anyone else, it is "a healthy dose of paranoia". Usually a new comer to this forum does not get so much attention and advice as you do, so even that probably is good evidence that composers like you and want you to stay with them and develop your art further. In other words, if you did not take their hints, in the long run it would be a loss to music and to yourself.

    I observed in all your pieces 3 main music elements: rhythm, melody, and harmony.

    The 4th element is counterpoint, but no one would expect it from someone that has not study it formally.

    There is good evidence that you can manipulate all three  of them up to a certain point not by your knowledge of them but by inborn musicality. There are problems in every piece and some people have pointed to them, so I will not repeat them. To put it in a sentence, you know how to begin something and carry on up to a certain point with good results but later, not knowing enough about structuring and manipulating further, the piece either becomes repetitive or finishes.

    Everyone has pointed you towards further study, and I am not going to be deferent, I will only give my own opinion. Any method of study may be valid for any individual, but it's sometimes a question of knowing these methods. A first university degree (at its best) is supposed (apart from formal course content) to teach you study skills, so that you can be an autodidact, or as Mike put it, up to 90% self-taught musician for the rest of your studying life.

    I will state my personal experience/preference both as a student and as a teacher. All methods of teaching and musical subjects studied are worth, but I have found the Western European method of classical music studies the best as it is the richest in content and the quickest in results. (After all it developed through centuries, based on its own musical civilization-the top music civilization that can be observed historically).That may sound a bit stuffy, but to me it is the truth. There are a few relatively easy approaches:


    Listening to a lot of music (a hell of a lot, I should say) is a good one. And coming back to what you listen and back again etc. etc. I remember once that I made a bet with myself that I could listen to all 52 Haydn piano sonatas without a break :-) well, I fell asleep exhausted at some points, but when I woke up I just carried on listening. What a stupid exercise eh? I did not see any benefit out of it, cause anyway I had listen to them before in a more human way, but I may add, I did not see any harm in it. For most of the time while the bet lasted the music  was as enjoyable as ever. It only left me with the habit of repeating the exercise from time to time with all sorts of composers and repertoires. Through the years, by just listening alone, I've learnt a lot about music, and more importantly, about what to do with my music.

    It is very essential to me, so, I would ask you: how much music are you listening, and what music?


    Another way to study western music, perhaps not mentioned yet, apt to give quick and thrilling results, is to study it through a chosen instrument and trying to observe the theory that you already know been applied (or not applied) by the composer in the pieces you are trying to learn. This way is good for practical training, good aural training and good theory training, imp, and of course the best results come out of the study of an established classical instrument, whichever.

    If you don’t play any, it is never late ta start studying on one and set to yourself goals, like for example, "I'm going to pass my violin (or whatever) grade 2 exam by the end of next summer, or something like that.


    Well, I don’t want to carry on, any further, I believe that other contributors have covered some subjects better than me in the advice given. I leave you with a quote of a very wise man, Isidore (bishop) of Seville (c. 560-630 B.C.):

    Study as if you were going to live for ever!


    Good luck with it all.

  • sorry, demon of the printing press strikes again,

    Isidore (bishop) of Seville (c. 560-630 A.D).



  • I especially like the Mindless Vapor song. You are very talented. Keep studying, practice, and listen to the genres of music you would like to make a lot (that is what I do...it helps so much!) Well done. 

This reply was deleted.