Piano - Level 1-2 SKU: DB.01-00406 Eine klassische Methode fur den Anf...(+)
Piano - Level 1-2
SKU:
DB.01-00406
Eine
klassische Methode fur
den Anfang A Classical
Method for the
Beginning. Composed
by Elena Malycheva and
Uwe Korn. Keyboard music.
Composed 2004. 67 pages
pages. Doblinger Music
Publishers #01-00406.
Published by Doblinger
Music Publishers
(DB.01-00406).
ISBN
9790012193036.
Klav
ierschule - Piano
Method Detektiv (4ms
ad lib.) / Detective -
Wiegenlied (4ms ad lib.)
/ Lullaby - Ein sonniger
Tag (4ms ad lib.) / A
Sunny Day - Walzer (4ms
ad lib.) / Waltz - O When
the Saints (4ms) - Au
Clair de la Lune - Herbst
/ Autumn - Bourree -
Chicago - Greensleeves -
Piano Rock - When Israel
Was In Egypt's Land (4ms)
- Kristall / Crystal -
Was soll das bedeuten? /
What does it mean? -
Schmetterlinge /
Butterflies - In der
Halle des Bergkonigs
(4ms) / In the Hall of
the Mountain King -
Plattfussmarsch /
Flatfooted March -
Geisterstunde / The
Witching Hour - Melodie /
Melody - Praludium /
Prelude - Karawane /
Caravan - Musette /
Musette - Der Regen /
Rain - Flug der Elfen /
Flight of the Elves -
Neapolitanisches Lied /
Neapolitan Air - Blues -
Ganoven-Tango /
Gangster-Tango - Das
Standchen (4ms) /
Serenade - Lied der
Eisbaren / Song of the
Polar Bears - Mazurka -
Abendlied / Evening Song
- Krabbentanz / Dance of
the Crabs - Le Coucou -
Menuett / Minuet -
Altfranzosisches Lied /
Old French Song -
Maxi'.
Piano - easy SKU: HL.49015359 Ten easy pieces. Composed by George ...(+)
Piano - easy
SKU:
HL.49015359
Ten
easy pieces. Composed
by George Nevada. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 20 pages.
Schott Music #ED7696.
Published by Schott Music
(HL.49015359).
ISBN
9790001080101.
9.0x12.0x0.076
inches.
A little
dreamy * Wind harp * When
Paris dreams * Little pop
prelude * ... and the
romance drifts away *
Elegy in the evening *
When a dream drifts away
* Romantic episode *
Never-ending blue *
Little Atlanic
rhapsody.
Favorite Piano Classics (CC10) by Various. For Piano. Published by Santorella Pu...(+)
Favorite Piano Classics
(CC10) by Various. For
Piano. Published by
Santorella Publications
(SP.78200).
ISBN 1-58560-526-3.
There is certainly an
abundance of Classical
piano literature in
print. Every publisher
has a collection of piano
classics in their catalog
and the differences are
determined by several
factors. When we narrow
the field to include only
"unedited original works"
of the greatest
composers, the largest
difference is content.
Favorite Piano Classics
from Santorella
Publications contains the
finest assortment of
"unedited original" piano
works in print. Let's let
the titles and their
fathers speak for
themselves.
Arranged by Carol Matz. For Piano. Includes instructional pages, and exercises e...(+)
Arranged by Carol Matz.
For Piano. Includes
instructional pages, and
exercises exploring the
12-bar blues, swing
rhythm, and the blues
scale; historical
information; and an
explanation of jazz and
blues styles (64 pages).
Contents include: After
You've Gone; Alexander's
Ragtime Band; Basses
Loaded; Bill Bailey,
Won't You Please Come
Home?; Crazy Blues; Early
Morning Blues;
Fascination; Fat Cat
Boogie; Frankie and
Johnny; House of the
Rising Sun; I Ain't Got
Nobody; I Love a Piano;
Quiet Waters; Royal
Garden Blues; The St.
James Infirmary; St.
Louis Blues; Tishomingo
Blues; When the Saints Go
Marching In. Jazz &
Blues. Level: Easy Piano.
Book. Published by The
FJH Music Company, Inc.
Arranged by Carol Matz. For Piano. The FJH Piano Teaching Library. Contents incl...(+)
Arranged by Carol Matz.
For Piano. The FJH Piano
Teaching Library.
Contents include: Ode to
Joy; Irish Washerwoman; A
Bicycle Built For Two;
Russian Wedding Dance;
Take Me Out to the Ball
Game; When the Saints Go
Marching In; The
Marionette's Funeral
March. Level: Early
Elementary. Book.
Published by The FJH
Music Company.
Piano Transcriptions Piano SKU: HL.285972 By Bill Evans. Jazz Transcripti...(+)
Piano Transcriptions
Piano
SKU:
HL.285972
By Bill
Evans. Jazz
Transcriptions. Jazz.
Softcover. 360 pages.
Published by Hal Leonard
(HL.285972).
ISBN
9781540039538. UPC:
888680892463.
9.0x12.0x0.834
inches.
The
ultimate collection for
jazz keyboardists to
learn 40 Evans classics
with exact note-for-note
transcriptions. Includes:
Alice in Wonderland
• Autumn Leaves
• Bill's Hit Tune
• Blue in Green
• Days of Wine and
Roses • Emily
• Everything
Happens to Me •
Five • For Nenette
• How About You?
• How My Heart
Sings • I Loves
You, Porgy • It
Could Happen to You
• Just You, Just Me
• Letter to Evan
• My Foolish Heart
• My Funny
Valentine • My
Romance • Nardis
• Night and Day
• One for Helen
• Peace Piece
• Peri's Scope
• Quiet Now •
Re: Person I Knew •
Skating in Central Park
• A Sleepin' Bee
• Some Other Time
• Stella by
Starlight • Song
from M*A*S*H (Suicide Is
Painless) • 34
Skidoo • Time
Remembered • The
Touch of Your Lips
• Turn Out the
Stars • Very Early
• Waltz for Debby
• What Kind of Fool
Am I? • Who Can I
Turn to (When Nobody
Needs Me) • You Go
to My Head • You
Must Believe in Spring
• and more. Spiral
bound.
Piano (Piano) - intermediate SKU: HL.49007250 20 short Pieces. Com...(+)
Piano (Piano) -
intermediate
SKU:
HL.49007250
20
short Pieces.
Composed by Petr Eben.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Composed 1985.
22 pages. Duration 10'.
Schott Music #ED 7445.
Published by Schott Music
(HL.49007250).
ISBN
9790001077934.
9.0x12.0x0.096
inches.
The pavers
* march * Musical box *
Out of Tune * In Indian
File * Mazur * Nightly
Chimes * The fencers * a
legend * The false
Trumpet * Pingpong * From
the far east * By the
brooklet * When mother
caresses * At the
shooting-range * Don't
you go mad? * The white
sailing ship * Czardas *
Bird on the window-sill *
Lullaby.
For piano solo. Keyboard. Level: Intermediate (4/5). Published by Alfred Publish...(+)
For piano solo. Keyboard.
Level: Intermediate
(4/5). Published by
Alfred Publishing.
Students love ragtime,
and when you add
delightful lyrics
(provided by Christine's
daughter, Allison) to
this style, you get a
solo that is irresistibly
fun! The left hand is a
good study in intervals,
and the right hand melody
expands to the octave.
Chromatics are found
throughout in both hands.
The swing rhythm will
have audiences tapping
their feet to this
recital winner!
Arranged by Kevin Olson. For Piano. The FJH Piano Teaching Library. Students of ...(+)
Arranged by Kevin Olson.
For Piano. The FJH Piano
Teaching Library.
Students of all ages will
enjoy the variety of
jazz, blues, and swing
styles while they enhance
their performance
repertoire. Includes: The
Saints Go Swingin' In
(When The Saints Go
Marching In); Green's
Leaves (Greensleaves);
Song of the River
(Shenandoah); Rock
Gardens (Country
Gardens); Bluesy Canal
(Erie Canal); Shaker Song
(Simple Gifts); Susanna
Boogies (Oh! Susanna).
American Gallery. Level:
Late Intermediate. Book.
Published by The FJH
Music Company Inc.
Arranged by Teresa Wilhelmi. For Piano. The FJH Sacred Piano Library. Contents i...(+)
Arranged by Teresa
Wilhelmi. For Piano. The
FJH Sacred Piano Library.
Contents include: As the
Deer; Glorify Thy Name;
Joyful, Joyful, We Adore
Thee; Great Are You,
Lord; Softly and
Tenderly; I Need Thee
Every Hour; When I Survey
(Rockingham); Spirit of
the Living God; My Jesus,
I Love Thee; Nothing
Between. Sacred. Level:
Early Advanced. Book.
Published by The FJH
Music Company Inc.
ABC for piano, del 2' er en pianobok for litt viderekomne. Den er forst og frems...(+)
ABC for piano, del 2' er
en pianobok for litt
viderekomne. Den er forst
og fremst mente for barn,
men kan ogsa brukes av
voksne som vil friske opp
pianokunnskapene sine,
laere noter pa egen hand,
eller hjelpe sine barn
som laerer a spille.
Boken inneholder et
utbrettsark med oversikt
over alle tangentene og
notene + litt
teori.
Boken
inneholder mange morsomme
oppgaver. Det er brukt
mangefolketoner, bade fra
Norge og andre europeiske
land, samt
populaerebarnesanger.
Innhold: Lille
bjork Kjerringa med
staven En
hostkveld Na skal vi
telle Humoreske - L.
Mozart mary had a
little lamb Tamburin
-J.
Rameau Vuggesang
Blinke, blinke stjerne
lill I min
hage Et stykke - J.
Arman Jeg gikk meg
over sjo og
land Preludium Do
vne Trulte Haren uti
gresset Kjaere gasen
min er stjalet Jeg
gikk en tur pa
stien Min nye
ball Etyde - L.
Shytte Marching Pigs
- Boris Berlin Vesle
Lise er sa liten - P.I.
Tschaikovsky Etyde Potet-sang Etyde -
C. Czerny Min hatt
den har tre
kanter Alle
fugler Gratulerer med
dagen Hurra for
deg! Ola
Diger Musette - L.
Mozart I Dovregubbens
hall E. Grieg Etyde -
C. Czerny Menuet -
W.A. Mozart En
spok O sole
mio! Per
Sjuspring Oh, when
the Saints go marching
in Pa var
bryllupsdag Etyde -
N. Paganini Gjok -
Couperin Jeg trenger
deg for
dansen Morgenstemning
- E. Grieg Du er den
eneste Skalaer,
arpeggio og
akkorder Schumanns
regler for
musikere Olga
Alexandra Holter er fodt
i Russland. Etter a
graduere fra Gnesyn's
Musikkakademi i Moskva,
en av de mest kjente
hoyskolene i Russland,
begynte hun a jobbe som
pianolaerer. Senere tok
hun mastergrad i
lingvistikk og
pedagogikk. Hun kom til
Norge i 1993. For a fa en
grundig forstaelse av det
norske musikk-pedagogiske
systemet gikk hun pa
Musikkhogskolen i Oslo,
hvor hun studerte hos den
kjente pianisten Liv
Glaser. I 1999 etablerte
Olga
Barnemusikkakademiet,
hvor hun i dag jobber som
pianolaerer og daglig
leder
Arranged by Jolene Boyd. For Piano. The FJH Sacred Piano Ensemble Library. Conte...(+)
Arranged by Jolene Boyd.
For Piano. The FJH Sacred
Piano Ensemble Library.
Contents include: When
the Roll is Called Up
Yonder; Theme and
Variations on Jesus Loves
Me; Wonderful Grace of
Jesus; Praise Him! Praise
Him!; The Lord is My
Shepherd; America Marches
On (The Stars and Stripes
Forever, Battle Hymn of
the Republic, America the
Beautiful); It is Glory
Just to Walk with Him.
Sacred. Level: Late
Intermediate. Book.
Published by The FJH
Music Company Inc.
Arranged by John Kraus. For Piano. The FJH Sacred Piano Library. Contents includ...(+)
Arranged by John Kraus.
For Piano. The FJH Sacred
Piano Library. Contents
include: Joyful, Joyful,
We Adore Thee; Amazing
Grace; We Gather
Together; When I Survey
the Wondrous Cross; What
a Friend We Have in
Jesus; Savior, Like a
Shepherd Lead Us; I Need
Thee Every Hour; Jesus,
Savior, Pilot Me. Sacred.
Level: Early Advanced.
Book. Published by The
FJH Music Company Inc.
Autumn Inspirations Piano seul [Partition] - Intermédiaire Alfred Publishing
Autumn Inspirations is a collection of 10 piano solos that capture special recol...(+)
Autumn Inspirations is a
collection of 10 piano
solos that capture
special recollections of
the fall season, when
summer is a fading memory
and falling leaves are
showing off their colors.
From "Harvest Hoedown" to
"The Legend of Sleepy
Hollow," each piece has a
distinctive autumn hue.
Arranged by Melody Bober. For Piano. The FJH Piano Teaching Library. Contents in...(+)
Arranged by Melody Bober.
For Piano. The FJH Piano
Teaching Library.
Contents include: Oh!
Susanna; Lavender's Blue;
The Glendy Burk; When
Johnny Comes Marching
Home; My Bonnie Lies Over
The Ocean; Hushabye (All
the Pretty Little
Horses). American
Gallery. Level: Late
Intermediate/Early
Advanced. Book. Published
by The FJH Music Company,
Inc.
Electronic Keyboard; Organ; Piano SKU: HL.294969 E-Z Play Today #141(+)
Electronic Keyboard;
Organ; Piano
SKU:
HL.294969
E-Z Play
Today #141. Composed
by Various. E-Z Play
Today. Christmas.
Softcover. 96 pages.
Published by Hal Leonard
(HL.294969).
ISBN
9781540054715. UPC:
888680944599.
9.0x12.0x0.288
inches.
27
sentimental holiday
favorites, including: All
I Want for Christmas Is
You * Blue Christmas *
The Christmas Shoes * The
Christmas Song (Chestnuts
Roasting on an Open Fire)
* Christmas Time Is Here
* Christmases When You
Were Mine * Have Yourself
a Merry Little Christmas
* (There's No Place Like)
Home for the Holidays * I
Heard the Bells on
Christmas Day * I'll Be
Home for Christmas * It
Must Have Been the
Mistletoe (Our First
Christmas) * Merry
Christmas, Darling *
Please Come Home for
Christmas * Same Old Lang
Syne * Silver Bells *
Somewhere in My Memory *
Tennessee Christmas *
Where Are You Christmas?
* White Christmas *
You're All I Want for
Christmas * and more!
About Hal
Leonard E-Z Play
Today
For
organs, pianos, and
electronic keyboards. E-Z
Play Today is the
shortest distance between
beginning music and
playing fun. Now there
are more than 300 reasons
why you should play E-Z
Play Today. * World's
largest series of music
folios * Full-size books
- large 9 x 12 format
features easy-to-read,
easy-to-play music *
Accurate arrangements...
simple enough for the
beginner, but accurate
chords and melody lines
are maintained *
Eye-catching, full-color
covers * Lyrics... most
arrangements include
words and music * Most
up-to-date registrations
- books in the series
contain a general
registration guide, as
well as individual song
rhythm suggestions *
Guitar Chord Chart - all
songs in the series can
also be played on
guitar.
Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For pi...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Riemenschneider. For
piano. Format: piano solo
book. With piano
reduction, introductory
text, instructional text,
lyrics and performance
notes. Baroque. 184
pages. 9x12 inches.
Published by Schirmer
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
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.