Un séjour à Londres a incité Aline à composer une noble pièce en imaginant la
royauté anglaise ayant foulé les palais au fil des siècles. Pour combiner les époques, deux sons distincts ont été mélangés : le piano moderne ainsi que le clavecin, son ancêtre direct, instrument historique de référence utilisé depuis le 17ème siècle pour des concerts devant l'aristocratie internationale.

Buckingham Trip

La Joyeuse / J.P.Rameau
Performed by Katsuhiro Oguri

La Joyeuse

Whimsical Waddle stumbles along with oddball charm - slow, quirky woodwinds, bouncing xylophone, offbeat rhythms, and harpsichord chords that give it a delightfully strange twist. Perfect for animated waddles, awkward entrances, or moments of surreal silliness.

Fun or No

Whimsical Waddle

The intro track of What's a Tapestoppa. Ironically it was the last track made of the whole album.

Stream
Spotify: https://open.spotify.com/album/3GqNRHbCesg4eky62dHjAQ?si=RmdE-cr0Ts2qNDPNtWKMHw

Bandcamp: https://tapestoppa.bandcamp.com/album/whats-a-tapestoppa

ouverture

Enjoy this beautiful Harpsichord Piece of George Friederich Haendel, played by me! ❤️🎵

For donations: www.paypal.com/paypalme/carlocozzula

Haendel G. Fr. - Fuge in c Hwv610 (harpsichord)

BONES DARK TYPE BEAT ! MY MIND IS ON FIRE !

New dubstep single OUT NOW

To all those people who knew me in high school, who you calling quiet, I'm a fucking RIOT
I had that verse planned out for a pre-drop vocal when I made the demo version of this a few years ago
but in the end I scrapped that part out for the sake of reducing cringe levels
That'll most likely be in a mixtape though for those interested in wanting to hear that old shit

But as for the final product, here's some harpsichord dubs and some choir bits within those heavy wubs

Download

Zorro - Riot

HEIWA TO MEIYO for harpsichord: in memoriam Toru Katayama (1927-2025)

HEIWA TO MEIYO for harpsichord—in memoriam Toru Katayama (1927-2025)

Some digs both at Elon being suspected of taking ketamine and the Iran B-2 Bomber Strike, and contemporary corporate HR behavior

Lyrics:

True growth comes from being comfortable with discomfort
Mockery is just the universe's way of keeping our ego in check
Their probing had pinpointed my encumbrance
And had me by the neck
ahh ahh ahh ahh

Men are freest when they are most unconscious of freedom 
And fly no colors at all
Their shout is a rattling of chains, always was
When back against the wall


With trepidity i turned the pages
What he'd said was not for the meek
The best way to cure your nostalgia for the middle ages
Is to shit outside for a week 


They had winkled out my side vocation
Through the free market
In a form of distributed computation
But i felt that i could still dart around 
Any verbal machicolations


HR had me in the fish bowl
Interrogation from dawn to dusk 
Imagine coming down from a k hole
And finding out you're Elon Musk


She started we're not here for manners
And since there's no time to waste
You look like someone who eats bananas
For the shape and not the taste

I retorted bananas betoken
The dietary methodology 
That cellular processing of glucose is broken 
From the onslaught of modern insults to biology

Despite the degree to which this perturbed
She regained her nerve and said very well
It says here you should be in hell
But since you were a backend developer
We will consider that time served

She thundered what I'd done
Was not a smart play
What had gone supercritical with her parishioners
Who ratted me out the other day
Was that I had openly wondered 
If i might not draw better pay as a political prisoner

She bothered to insert the word official
As i was tallying her counter-poises
When sifting through waffling interstitials
You have to listen for these itty bitty noises

She's quite the girl with which to hang
By any available means
I tried to pass her interrobang
Without spilling the beans
But for the unwary
Your mileage may vary
It's best just to keep up with your leafy greens

While extoling her masters' daring
She was wearing me down with her slow rolling 
Since i felt I still had some juice
With her pincer move prepended
I decided to bite first and extended
Low sensitivity control systems will always
Underperform and often produce the 
Opposite effect as intended 


When I got back to my desk
I felt that I'd drained concupiscence to the dregs
Mercifully this was interrupted by my neighbor
Who said
The lion does not concern himself with OSHA regs 


He said one thing from the service stuck with him
The B-2 pilots had a doggerel for when they fly
Real penetration has never been tried
Which doubled as a joke about Communism
And some lady's remembrance of THAT guy 

I had a sneaking admiration
For the ways of this little freak
And contributing to the mystique
Was the ribaldness of his technique


His bluster fell a little flat
I silently wondered if i can
Take lessons on being a man
From a dude who tucks his ears into his hat


He dipped another nacho
And tried to make it look macho
He said they used to call us squares
Then turned up the volume on Rio Bravo


I wondered at his game and thought
She tells her therapist about you
She tells her handlers about me
We are not the same 


The organization's career path
Was a little over sold
Accept the brand new label
And something under the table
And head for the pot of gold
And the ranks of the well-bred
And be led into the library of Babel
By the latent manifold

Real Penetration Has Never Been Tried / Interrobang

Enjoy this beautiful Sonata for Harpsichordof J. A. Hasse, played by me! ❤️🎵

For donations: www.paypal.com/paypalme/carlocozzula

Hasse J. A. - Sonata op.7 n.4 (harpsichord)

KORG official account
http://www.korg.com/

A therapeutic journey into a mix of jazz, classical, and a blend of types of electronica.  And a wry, gradual observation that promotion tends to only go as far as you push it.  At least I make my fellow musicians laugh a little.

Coraline is an intercultural french pianist. Member of Artists for Peace (Canada), Soroptimist (Switzerland), and former UNICEF Young Ambassador (France), she values music from every country of the world, to promote peace and understanding between cultures and social minorities. Her oriental music project was a breakthrough (Middle-East & Maghreb). It made her win Canadian Public Peace Prize in 2017, alongside various swiss society prizes.

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

Check for more music at
comedysounds.com

Hello and welcome! 
I create orchestral, comedic music, From lighthearted arrangements to relaxing, soothing tunes, my tracks are designed to bring joy and keep you entertained.

Carlo Cozzula was born  in Sassari in 1971.
In 1994 he obtained the Experimental Magistral Diploma with the highest grade; in 1996 - under the leading of Hedda Vignanelli Illy – he graduated, with the highest marks, in Organ at the Conservatory of his city and next year, he graduated in Harpsichord at the Conservatory "B. Marcello" of Venice. 
He has studied Choral Music and Choir Conducting and also studied piano at the concert levels since 1985.
He performed on all the instruments as a soloist in chamber ensemble also with vocal soloists, accompanying several polyphonic complexes, among which the "Cantori della Resurrezione" by A. Sanna, with whom, in 2000, he collaborated for a recording of music by G. B. Platti (Bongiovanni Records), and with whom he performed in a concert in July 2003 in the Basilica of the SS. Rosary of Lourdes (France).
He was the main organist at the Monumental Church of S. Maria di Betlem (Sassari) and at the Basilica of S. Gavino (Porto Torres). 
As an organist, in October 1997 he was invited for a tournée in Germany, performing in prestigious places, including Limburg, Wiesbaden, Lorch, Frankfurt, as soloist and chamber musician, in concert seasons including well-known soloists such as W. Stockmeier, R. Haas, M. Pirenne, U. Krupp, W. Rockel, J. Von Erdmann.
He was invited again for the October of 2003 to give a concert at the “Orgelsommer 2003” in St. Josef Church (Frankfurt), achieving great success, playing in a schedule with some of the most famous and acclaimed organists on the world scene, such as J. Parker-Smith, Th. Trotter, H. Vogel, P. Pincemaille, D. Zaretsky, P. Pietiläinen.
In 2007 he was called a part of the Jury of the 1st Art Competition "Il Filo di Arianna", at the Baja Hotel in Cannigione (Sardinia). 
He taught Music Theory and has been pianist accompanist of lyric singing classes at the Civic School of Nuoro, taught in State Schools.
Recently he has edited the Italian translation - in World Premiere - of the essay of 1846 written by the French F. Levacher D'Urclé: "Manual didactic problems in relation to the study of the anatomy of the hand" and also the thesis by M. Punt "The Straube Code-Deciphering the metronome marks in Max Reger's Organ Works".
As a composer, he is the author of music - original and not - dedicates to the international singer Teresa Salgueiro. He is also the author of a series of Concert Transcriptions for organ - even in World Premiere - from the piano and symphonic repertoire, and for pf. from the original organ repertoire, but also from accurate choices concerning the world of jazz, fusion, Brazilian music, French chansons and Soundtracks.
One of the piano transcriptions has already been recently included in a piano recital. These compositions are already available to the international artists such as: Philippe Raskin, Mariangela Vacatello, Irene Veneziano, Simone Pedroni, Igor Roma, Gloria Campaner, Antonio Pompa-Baldi, Alexei Volodin, Roberto Plano, Maurizio Baglini, Andrew Litton, Sandro Russo, Nicholas McCarthy, Ramin Bahrami, Thomas Ospital, Stephen Tharp, Thierry Mechler, Joseph Nolan, Danilo Rea, Enrico Pieranunzi, Carisa Marcelino and Clare Hammond.

Previously known as dubau5

Hailing from my hometown Gilroy, CA, I am a dubstep / electronic music producer and DJ  and have been making music since February 2013. I also fuse chiptune video-game music / harpsichord and classical music with EDM to create original tunes and albums.
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Upcoming live shows (MM/DD/YY):

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NMSU graduate of Creative Media Institute and Journalism & Media Studies of 2021

New tracks tagged #Harpsichord