SKU: HL.1436504 Compact Adaptive Digital Mixer for Podcasting and Stre...(+)
SKU: HL.1436504
Compact Adaptive
Digital Mixer for
Podcasting and
Streaming. Mackie.
Studio and Rehearsal
Support. Hal Leonard #DLZ
CREATOR XS. Published by
Hal Leonard (HL.1436504).
Inspired in
part by smartphone and
DSLR cameras that make
great results accessbile
to anyone, DLZ Creator XS
transforms the on-screen
controls to meet your
creative style or skill
level – without
compromising processing
power or sound quality.
Three versatile modes
Easy A no-fuss user
interface that offers the
fastest path to recording
your first podcast. For
those who want to get
great results without
menu-diving. Enhanced
Expanded control over
your sound and mix. For
those who want some
customization without an
overwhelming number of
options. Pro Total
control and fully
customizable. For those
who know what they want,
and how to get it. The
ins and outs of producing
DLZ Creator XS harnesses
decades of Mackie
expertise, making every
detail count for your
productions. From Onyx80
preamps that make even
low-output mics sound
both loud and pristine,
to customized headphone
mixes for each of your
guests, DLZ Creator XS
gives you the benefits of
a professional studio
mixer without the steep
learning curve. Ready for
what's next As a content
creator, you know that
flexibility is key. No
matter how you like to
create, the DLZ Creator
XS podcast mixer supports
you every step of the
way. Record or stream to
a computer via USB-C, or
skip the computer and
record full multitrack
audio to an SC card for a
truly self-contained
setup. Mackie knows
creators For decades,
Mackie has provided
musicians, DJs, and
multimedia producers with
the tools to create. From
bedroom studios to the
world's biggest
festivals, Mackie mixers
are literally everywhere.
DLZ Creator XS puts all
our knowledge into a new
design for the next
generation of
creators.
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231).
ISBN
9781491153314. UPC:
680160910816.
Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley.
Violin SKU: AP.6-443566 Composed by Edward Heron Allen. Reference Textboo...(+)
Violin
SKU:
AP.6-443566
Composed
by Edward Heron Allen.
Reference Textbooks;
Textbook - Instrumental.
Dover Edition. Book.
Dover Publications
#06-443566. Published by
Dover Publications
(AP.6-443566).
ISBN
9780486443560.
English.
This
classic guide offers an
accessible initiation
into the mysteries of
violin-making. Charming
in its style and
cultivated in its
research, it covers every
detail of the process,
from wood selection to
varnish. A fascinating
history of the instrument
precedes discussions of
materials and
construction techniques.
More than 200 diagrams,
engravings, and
photographs complement
the text.
Fifty-one Mazurkas Newly Arranged for Solo Guitar. Composed by Stephen Aron....(+)
Fifty-one Mazurkas Newly
Arranged for Solo Guitar.
Composed by Stephen Aron.
Guitar: Classical and
Lute,Style,Classical,Solo
s.
Book and Online Audio.
256
pages. Published by Mel
Bay
Publications, Inc
2 or more cellos SKU: BR.BG-1397 Composed by Paul-Heinz Dittrich. This ed...(+)
2 or more cellos
SKU:
BR.BG-1397
Composed
by Paul-Heinz Dittrich.
This edition: paperback.
Solo instruments;
Softbound. Edition Gerig.
Music post-1945. Score.
Composed 1979. 64 pages.
Duration 15'. Breitkopf
and Haertel #BG 1397.
Published by Breitkopf
and Haertel (BR.BG-1397).
ISBN 9790004122907. 9
x 12 inches.
World
premiere Witten 1979This
composition is the result
of an intense study of
the timbre element. It
was premiered in 1979
during the Wittener Tage
fur neue Kammermusik. The
composition is bipartite;
it contains a multitude
of differentiation
processes concerning
articulation, linked with
a tremendous rhythmic
accuracy in every detail,
and extremely small
melodious shifts.
Consequently the sound
material is freed from
its strait jacket of
preconceived, external,
and imposed structural
restrictions. Minimal
tone movements arise,
sound spaces with an
intense drama, out of
which a new
time-experience is
created for the
listener.The composition
was inspired by the
sculpture La Meditation
by Auguste Rodin, which
the composer came into
contact with during an
exhibition at the
Nationalgalerie in
Berlin. Rilke wrote about
this sculpture: never
before has a human body
been concentrated like
this around its inner
essence, never before has
it been strained like
this by its own soul and
eased again by the
elasticity of its own
blood.(Paul-Heinz
Dittrich).
Organ SKU: AP.12-0571507719 Volume 1. England 1510-1590. Ed...(+)
Organ
SKU:
AP.12-0571507719
Volume 1.
England 1510-1590.
Edited by James Dalton.
Masterworks; Organ -
Method or Collection.
Faber Edition: Early
Organ Series. Masterwork.
Book. Faber Music
#12-0571507719. Published
by Faber Music
(AP.12-0571507719).
ISBN 9780571507719.
English.
The Faber
Early Organ Series is
among the most
comprehensive anthologies
of early organ music ever
published. In 18 volumes
it spans two centuries
and six geographical
regions, presenting a
broad and balanced view
of the main forms, styles
and composers. Within
each geographical region
the pieces, most of which
are for manuals only, are
arranged by date of
composition or
publication. The
presentation is both
scholarly and practical;
all of the music has been
newly edited from the
earliest surviving
sources according to a
systematic editorial
method that preserves as
many features of the
original notation as
possible while making it
fully accessible to
modern players. In every
volume, an informative
Introduction sets the
music in historical
context. There are also
helpful sections on
Ornamentation and
Registration, and a
Critical Commentary
giving detailed
information on the
sources.
By Eric Taylor. ABRSM Music Theory in Practice Answers is a brand new resource t...(+)
By Eric Taylor. ABRSM
Music Theory in Practice
Answers is a brand new
resource to accompany the
fully- revised Grades 1
to 5 of the Music Theory
in Practice series. Each
volume provides model
answers for every
exercise covered in the
corresponding Music
Theory in Practic.
Education. Grade 2
By Eric Taylor. ABRSM Music Theory in Practice Answers is a brand new resource t...(+)
By Eric Taylor. ABRSM
Music Theory in Practice
Answers is a brand new
resource to accompany the
fully- revised Grades 1
to 5 of the Music Theory
in Practice series. Each
volume provides model
answers for every
exercise covered in the
corresponding Music
Theory in Practic.
Education. Grade 4
By Eric Taylor. ABRSM Music Theory in Practice Answers is a brand new resource t...(+)
By Eric Taylor. ABRSM
Music Theory in Practice
Answers is a brand new
resource to accompany the
fully- revised Grades 1
to 5 of the Music Theory
in Practice series. Each
volume provides model
answers for every
exercise covered in the
corresponding Music
Theory in Practic.
Education. Grade 3
By Eric Taylor. ABRSM Music Theory in Practice Answers is a brand new resource t...(+)
By Eric Taylor. ABRSM
Music Theory in Practice
Answers is a brand new
resource to accompany the
fully- revised Grades 1
to 5 of the Music Theory
in Practice series. Each
volume provides model
answers for every
exercise covered in the
corresponding Music
Theory in Practic.
Education. Grade 5
By Eric Taylor. ABRSM Music Theory in Practice Answers is a brand new resource t...(+)
By Eric Taylor. ABRSM
Music Theory in Practice
Answers is a brand new
resource to accompany the
fully- revised Grades 1
to 5 of the Music Theory
in Practice series. Each
volume provides model
answers for every
exercise covered in the
corresponding Music
Theory in Practic.
Education. Grade 1
Impulse Response
Cabinet Simulator Effects
Pedal. Hotone Pedals.
Guitar Pedal. Hal Leonard
#BIR-1. Published by Hal
Leonard (HL.276760).
UPC: 888506100024.
3.0x5.0x2.5
inches.
Grown out
of next-generation XTOMP
technology, the Hotone
Binary Series lets loose
versatile pro-level
effects in compact cases.
Based on the same
modeling/original effect
library that amazed XTOMP
users worldwide, Binary
Series are dedicated to
gather a bunch of high
quality effects in a box
with more affordable,
competitive price. They
feature compact casing,
dual-footswitch design,
versatile inputs/outputs
and bright, clear OLED
display, which blur the
line between
“classic
pedals†and
multi-effects. At the
core of all Binary Series
pedals, a powerful
dual-DSP platform and
CDCM (Comprehensive
Dynamic Circuit Modeling)
modeling system ensure a
realistic playing
experience. The CDCM
system is built on an
extremely complex dynamic
variation matrix, able to
realistically express
every detailed change
that occurs during the
operational process of
actual circuitry:
Everything is ALIVE and
performs like its
original. The Hotone IR
Cab is an impulse
response-based cabinet
simulator effects pedal
that delivers 100
authentic legendary
(vintage and modern)
guitar and bass cab
models. In addition, the
IR Cab features
CDCM-based legendary
studio microphone and
power amp models, as well
as a variety of detailed
mic position (X, Y, Z)
and room simulations.
CDCM Modulation
Effects Pedal. Hotone
Pedals. Guitar Pedal. Hal
Leonard #BME-1. Published
by Hal Leonard
(HL.276761).
UPC:
888506100048. 3.0x5.0x3.0
inches.
Grown out
of next-generation XTOMP
technology, the Hotone
Binary Series lets loose
versatile pro-level
effects in compact cases.
Based on the same
modeling/original effect
library that amazed XTOMP
users worldwide, Binary
Series are dedicated to
gather a bunch of high
quality effects in a box
with more affordable,
competitive price. They
feature compact casing,
dual-footswitch design,
versatile inputs/outputs
and bright, clear OLED
display, which blur the
line between
“classic
pedals†and
multi-effects. At the
core of all Binary Series
pedals, a powerful
dual-DSP platform and
CDCM (Comprehensive
Dynamic Circuit Modeling)
modeling system ensure a
realistic playing
experience. The CDCM
system is built on an
extremely complex dynamic
variation matrix, able to
realistically express
every detailed change
that occurs during the
operational process of
actual circuitry:
Everything is ALIVE and
performs like its
original. The Hotone
Binary Mod is a
modulation effects pedal
with stereo I/O and
expression pedal support
for delivering authentic
classic, as well as new
and inspiring Hotone
original, modulation
sounds. 24 high-quality
modulation effects
include choruses,
flangers, phasers,
tremolos, rotary speaker
simulators, vibratos,
wahs, detuners and
more.
CDCM Delay Effects
Pedal. Hotone Pedals.
Guitar Pedal. Hal Leonard
#BDL-1. Published by Hal
Leonard (HL.276759).
UPC: 888506100031.
3.0x5.0x3.0
inches.
Grown out
of next-generation XTOMP
technology, the Hotone
Binary Series lets loose
versatile pro-level
effects in compact cases.
Based on the same
modeling/original effect
library that amazed XTOMP
users worldwide, Binary
Series are dedicated to
gather a bunch of high
quality effects in a box
with more affordable,
competitive price. They
feature compact casing,
dual-footswitch design,
versatile inputs/outputs
and bright, clear OLED
display, which blur the
line between
“classic
pedals†and
multi-effects. At the
core of all Binary Series
pedals, a powerful
dual-DSP platform and
CDCM (Comprehensive
Dynamic Circuit Modeling)
modeling system ensure a
realistic playing
experience. The CDCM
system is built on an
extremely complex dynamic
variation matrix, able to
realistically express
every detailed change
that occurs during the
operational process of
actual circuitry:
Everything is ALIVE and
performs like its
original. The Binary Eko
is a delay effects pedal
with stereo I/O and
expression pedal support
for delivering authentic
classic, as well as a new
and inspiring Hotone
original delay sounds. 17
high-quality delay
effects types include
analog, digital, tape,
dual, ping pong,
filtered, modulated, slap
back and more.
Piano - Intermediate SKU: FJ.FJH2176 4. Composed by Helen Marlais....(+)
Piano - Intermediate
SKU: FJ.FJH2176
4. Composed by
Helen Marlais. Piano
Technique; Technique
Musicianship. The FJH
Pianist's Curriculum.
Book. The FJH Music
Company Inc #98-FJH2176.
Published by The FJH
Music Company Inc
(FJ.FJH2176).
ISBN
9781619282513. UPC:
024144439700.
English.
Book 4
introduces one-octave
harmonic and melodic
minor scales, cadences
and arpeggios. Detailed
photos show a
step-by-step approach
demonstrating finger,
hand and wrist motions,
in addition to verbal
explanations. Also
includes fingering
charts, practice
suggestions for minor
scales and arpeggios, and
check-off DID IT! boxes.
This is a very useful
book for students of all
ages.
CDCM Amplifier
Simulator Effects
Pedal. Hotone Pedals.
Guitar Pedal. Hal Leonard
#BAP-1. Published by Hal
Leonard (HL.276758).
UPC: 888506100017.
3.0x5.0x3.0
inches.
Grown out
of next-generation XTOMP
technology, the Hotone
Binary Series lets loose
versatile pro-level
effects in compact cases.
Based on the same
modeling/original effect
library that amazed XTOMP
users worldwide, Binary
Series are dedicated to
gather a bunch of high
quality effects in a box
with more affordable,
competitive price. They
feature compact casing,
dual-footswitch design,
versatile inputs/outputs
and bright, clear OLED
display, which blur the
line between
“classic
pedals†and
multi-effects. At the
core of all Binary Series
pedals, a powerful
dual-DSP platform and
CDCM (Comprehensive
Dynamic Circuit Modeling)
modeling system ensure a
realistic playing
experience. The CDCM
system is built on an
extremely complex dynamic
variation matrix, able to
realistically express
every detailed change
that occurs during the
operational process of
actual circuitry:
Everything is ALIVE and
performs like its
original. The Binary Amp
is an amplifier simulator
effects pedal that
delivers 16
classic/legendary guitar
amp models, each with its
own high-quality cab
simulators. In addition,
a built-in FX loop lets
you expand your sound
even further.
Book/Online Audio and Video Harmonica SKU: HL.369558 The Best Step-by-...(+)
Book/Online Audio and
Video Harmonica
SKU:
HL.369558
The Best
Step-by-Step Guide to
Start Playing. Do It
Yourself. Instruction,
Method. Softcover Media
Online. 128 pages.
Published by Hal Leonard
(HL.369558).
ISBN
9781705143759. UPC:
840126992120. 9.0x12.0
inches.
Learn the
fundamentals of harmonica
with Konstantin Reinfeld,
one of the world's most
sought-after harmonica
virtuosos and pioneer of
academic study of the
instrument.
Do-It-Yourself Harmonica
offers step-by-step
instructions on what you
need to know to get
started and sounding like
a pro in no time.
Includes audio
demonstration tracks,
plus detailed video
instruction by Konstantin
Reinfeld himself. Topics
covered include: •
Harmonica fundamentals
• Reading music and
tablature • Rhythmic
playing and chugging •
Single-note playing •
Tongue techniques •
Position playing •
Using scales • Blues
playing • Bending and
overbending • Vibrato,
tremolo and cupping.
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B).
8.27 x
11.69
inches.
Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher.