Discussion:
Mysterious Barricades by Couperin
(too old to reply)
pburdett
2012-11-06 20:54:35 UTC
Permalink
Hi all,

Anyone know where I can get the D major arrangement of Myserious Barricades
that Ben Verdary plays?
Cheers,
Paul
Steven Bornfeld
2012-11-06 22:43:30 UTC
Permalink
Post by pburdett
Hi all,
Anyone know where I can get the D major arrangement of Myserious Barricades
that Ben Verdary plays?
Cheers,
Paul
Haven't heard it. But I like Richard Yates's arrangement in G:

http://www.yatesguitar.com/pdfs/Couperin-MystBarr.pdf

Steve
pburdett
2012-11-07 06:09:57 UTC
Permalink
Post by Steven Bornfeld
Post by pburdett
Hi all,
Anyone know where I can get the D major arrangement of Myserious Barricades
that Ben Verdary plays?
Cheers,
Paul
http://www.yatesguitar.com/pdfs/Couperin-MystBarr.pdf
Steve
Hi Steve,

I've heard that vesion in C major, but I much prefer Verdary's:


Cheers,

Paul
Steven Bornfeld
2012-11-07 18:47:49 UTC
Permalink
Post by pburdett
Post by Steven Bornfeld
Post by pburdett
Hi all,
Anyone know where I can get the D major arrangement of Myserious Barricades
that Ben Verdary plays?
Cheers,
Paul
http://www.yatesguitar.com/pdfs/Couperin-MystBarr.pdf
Steve
Hi Steve,
http://youtu.be/TdvJKT50794
Cheers,
Paul
Brain fart--Yates's in c, of course. And I agree. Verdary's
arrangement is lovely.

Steve
Fadosolrélamisi
2012-11-07 07:17:38 UTC
Permalink
Post by pburdett
Hi all,
Anyone know where I can get the D major arrangement of Myserious Barricades
that Ben Verdary plays?
Cheers,
Paul
I have an arr. in D but it's by Alirio Diaz ...
Following with the score (Diaz) in hand and with the music link you gave, I found that a lot of the bass were not held for their full duration, I am not familiar with the piece but I wonder how it would compare to the C version in term of the possibility to hold the bass. Anywhoo ... it's indeed a nice version and Verdery plays it superbly!
s***@gmail.com
2016-01-30 19:55:49 UTC
Permalink
Where can I get that Diaz transcription?
Steven Bornfeld
2016-01-31 18:50:44 UTC
Permalink
Post by s***@gmail.com
Where can I get that Diaz transcription?
If you're willing to buy a collection, it seems to be available in a
book edited by Ben Vedery. I have not seen it, but I understand it is
in D maj.

http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Reverie+%E2%80%93+French+Music+for+Flute+%26+Guitar

If you don't mind a transcription in C maj, it's freely available from
Richard Yates:


http://www.yatesguitar.com/pdfs/Couperin-MystBarr.pdf

Steve
Paul Magnussen
2016-01-31 21:35:15 UTC
Permalink
Post by Steven Bornfeld
Post by s***@gmail.com
Where can I get that Diaz transcription?
If you're willing to buy a collection, it seems to be available in a
book edited by Ben Vedery. I have not seen it, but I understand it is
in D maj.
http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Reverie+%E2%80%93+French+Music+for+Flute+%26+Guitar
If you don't mind a transcription in C maj, it's freely available from
It's also in Parkening and the Guitar, Vol. 2. The transcription is in
C, but his recording is in D; so it looks as if he's using a capo (as
Sharon acknowledged).

Paul Magnussen
Matt Faunce
2016-01-31 21:45:28 UTC
Permalink
Post by Paul Magnussen
Post by Steven Bornfeld
Post by s***@gmail.com
Where can I get that Diaz transcription?
If you're willing to buy a collection, it seems to be available in a
book edited by Ben Vedery. I have not seen it, but I understand it is
in D maj.
http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Reverie+%E2%80%93+French+Music+for+Flute+%26+Guitar
If you don't mind a transcription in C maj, it's freely available from
It's also in Parkening and the Guitar, Vol. 2. The transcription is in
C, but his recording is in D; so it looks as if he's using a capo (as
Sharon acknowledged).
Paul Magnussen
Hmmmmmmmmm. Kinda like the Bach Präludium.
--
Matt
Andrew Schulman
2016-01-31 23:16:28 UTC
Permalink
Post by Steven Bornfeld
If you're willing to buy a collection, it seems to be available in a
book edited by Ben Vedery. I have not seen it, but I understand it is
in D maj.
If you don't mind a transcription in C maj, it's freely available from
2cts worth here: I tried it in C and D and found it works better in C.

Andrew
tom g
2016-02-01 13:31:17 UTC
Permalink
Post by Andrew Schulman
Post by Steven Bornfeld
If you're willing to buy a collection, it seems to be available in a
book edited by Ben Vedery. I have not seen it, but I understand it is
in D maj.
If you don't mind a transcription in C maj, it's freely available from
2cts worth here: I tried it in C and D and found it works better in C.
Andrew
I play my profe's transcription in C with sixth string at D and cejilla at first fret. It is more difficult and needs a clever digitation but I love it. David Russell argued with my teacher about the musical advantage in two or three places with sixth string at D and said there was only one place but my profe was correct.

Easy with 8 strings!

tom g
Andrew Schulman
2016-02-01 19:04:37 UTC
Permalink
Post by tom g
Easy with 8 strings!
tom g
Unfortunately, not as easy as I'd hoped! Wonderful piece, worth the effort. I know the sections where low D is needed and so that explains the need for the D if you play it in C, and that does make it easier on the 8-string because you still have 6-E. And it does need a clever fingering/digitation in many places because of the suspensions that need to be sustained over the bar line.

Andrew
Richard Yates
2016-02-01 22:07:57 UTC
Permalink
On Mon, 1 Feb 2016 11:04:37 -0800 (PST), Andrew Schulman
Post by Andrew Schulman
Post by tom g
Easy with 8 strings!
tom g
Unfortunately, not as easy as I'd hoped! Wonderful piece, worth the effort. I know the sections where low D is needed and so that explains the need for the D if you play it in C, and that does make it easier on the 8-string because you still have 6-E. And it does need a clever fingering/digitation in many places because of the suspensions that need to be sustained over the bar line.
Andrew
Most transcriptions I have seen miss the point (I think I remember a
Marshall/Parkening one in particular). The piece uses style brisé
throughout and the maze of tied notes is Couperin's best attempt to
imitate a Baroque lute with its naturally overlapping notes in
arpeggios.

If Couperin was trying to make the harpsichord sound like a lute, why
should we go through finger-tweaking contortions and obsess over the
octave of a bass note or two to try to make the guitar sound like the
harpsichord when we play it? S.L. Weiss wouldn't have.

That's why I much prefer to play this version:
http://www.yatesguitar.com/pdfs/lute-Couper
tom g
2016-02-01 23:11:40 UTC
Permalink
Post by Richard Yates
On Mon, 1 Feb 2016 11:04:37 -0800 (PST), Andrew Schulman
Post by Andrew Schulman
Post by tom g
Easy with 8 strings!
tom g
Unfortunately, not as easy as I'd hoped! Wonderful piece, worth the effort. I know the sections where low D is needed and so that explains the need for the D if you play it in C, and that does make it easier on the 8-string because you still have 6-E. And it does need a clever fingering/digitation in many places because of the suspensions that need to be sustained over the bar line.
Andrew
Most transcriptions I have seen miss the point (I think I remember a
Marshall/Parkening one in particular). The piece uses style brisé
throughout and the maze of tied notes is Couperin's best attempt to
imitate a Baroque lute with its naturally overlapping notes in
arpeggios.
If Couperin was trying to make the harpsichord sound like a lute, why
should we go through finger-tweaking contortions and obsess over the
octave of a bass note or two to try to make the guitar sound like the
harpsichord when we play it? S.L. Weiss wouldn't have.
http://www.yatesguitar.com/pdfs/lute-Couperin-MystBarr.pdf
I can almost agree with you but my real agreement is in other contexts not this one. If Couperin wanted to imitate the lute the imitation was part of his concept of the music. You say 'maze'. I think you are right but for another reason. The ligaduras are a kind of impediment to the changes of the harmony and then those impediments arrive at a final apoteosis in the 'maze' of the harmony in the last variation.
But of course we can only guess the real intention of the title. I simply prefer the piece with the ligaduras and I would play it differently without them.
There is not much contortion only unusual digitation more difficult to learn.
Finally, for me the register of the bass notes is very significant. The low D comes at important moments in the music, it is not about 'obsessing'!!
Anyway, now is an opportunity to thank you for all the great guitar music you have created for us!

tom g
David Raleigh Arnold
2016-02-02 23:54:16 UTC
Permalink
On Mon, 1 Feb 2016 15:11:40 -0800 (PST)
(...)
Post by tom g
Anyway, now is an opportunity to thank you for all
the great guitar music you have created for us!
Post by tom g
tom g
Yes! Kindest regards, Rale
David Raleigh Arnold
2016-02-02 19:42:24 UTC
Permalink
On Mon, 01 Feb 2016 14:07:57 -0800
Post by Richard Yates
If Couperin was trying to make the
harpsichord sound like a lute, why
Post by Richard Yates
should we go through finger-tweaking
contortions and obsess over the
Post by Richard Yates
octave of a bass note or two to try
to make the guitar sound like the
Post by Richard Yates
harpsichord when we play it?
The thing is written largely in four parts, and combining parts the
way you did leads to misinterpretation. Of youtube guitar
renditions, only David Russell seems to attempt to play it
as intended. The different voices need to be at different
levels. IMO.

I think that because it is near impossible to write the parts
on one staff, that the guitar version would best be written
on two staves with two parts on each, just as the keyboard
version was, but using the familiar guitar clef. This would
probably be a good idea for renaissance lute music also.
Music on two staves for one guitar is not unknown. My first
practice with playing it was playing the Richard Pick
beginner's duets as solos. I wish you had written your
transcription that way. It's not too late. In D? or
even E?

In the Couperin, playing the bass voice staccato is a good
idea IMO. It sounds better and makes it easier at the same
time, a winning combination. IMO. Regards, Rale
Learnwell
2016-02-02 19:59:20 UTC
Permalink
Post by David Raleigh Arnold
Music on two staves for one guitar is not unknown.
No, it is not. I first encountered it here.

http://www.classicalarchives.com/work/432863.html#tvf=tracks&tv=music

Interesting that they do not list the dedicatee, and his first performance and recording of the work.

In any case that is how it is written.
David Raleigh Arnold
2016-02-06 20:46:28 UTC
Permalink
On Tue, 2 Feb 2016 11:59:20 -0800 (PST)
Post by Learnwell
Post by David Raleigh Arnold
Music on two staves for one guitar is not unknown.
No, it is not. I first encountered it here.
http://www.classicalarchives.com/work/432863.html#tvf=tracks&tv=music
Interesting that they do not list the dedicatee,
and his first performance and recording of the work.
Post by Learnwell
In any case that is how it is written.
There is also something by Turina with a lot of simple rasgeado
in it that was written with the chords on one staff and the
rhythm on the other. Also see Carcassi Op 59 pp 17-19,

I understated the case, perhaps out of not realizing this
before after seeing transcriptions of lute music and what
a mess they were on one stave. No excuse. Regards, Rale
Andrew Schulman
2016-02-02 21:31:09 UTC
Permalink
Post by Richard Yates
If Couperin was trying to make the harpsichord sound like a lute, why
should we go through finger-tweaking contortions and obsess over the
octave of a bass note or two to try to make the guitar sound like the
harpsichord when we play it? S.L. Weiss wouldn't have.
http://www.yatesguitar.com/pdfs/lute-Couperin-MystBarr.pdf
Here's an 8-string version in C, with obsessive low Ds. No contortions here, not particularly difficult piece to play but also not easy.

https://www.scribd.com/doc/297664246/Couperin-The-Mysterious-Barricades-by-Francois-Couperin-arranged-by-Andrew-Schulman

Andrew
Andrew Schulman
2016-02-03 23:28:04 UTC
Permalink
Post by Andrew Schulman
Post by Richard Yates
If Couperin was trying to make the harpsichord sound like a lute, why
should we go through finger-tweaking contortions and obsess over the
octave of a bass note or two to try to make the guitar sound like the
harpsichord when we play it? S.L. Weiss wouldn't have.
http://www.yatesguitar.com/pdfs/lute-Couperin-MystBarr.pdf
Here's an 8-string version in C, with obsessive low Ds. No contortions here, not particularly difficult piece to play but also not easy.
https://www.scribd.com/doc/297664246/Couperin-The-Mysterious-Barricades-by-Francois-Couperin-arranged-by-Andrew-Schulman
Andrew
A revised version. I did this arrangement a long time ago but never memorized it, though I've always liked it a lot. I found easier and therefore better fingerings in five measures - 45, 48, 60, 61, and 64: https://www.scribd.com/doc/297856042/Couperin-The-Mysterious-Barricade

Andrew
Paul Magnussen
2016-02-15 17:11:21 UTC
Permalink
Post by Andrew Schulman
Here's an 8-string version in C, with obsessive low Ds. No contortions here, not particularly difficult piece to play but also not easy.
https://www.scribd.com/doc/297664246/Couperin-The-Mysterious-Barricades-by-Francois-Couperin-arranged-by-Andrew-Schulman
It's works even better for 2 guitars in C, with the 5th & 6th strings
tuned to C and G respectively. I did it that way for my wife and myself
to play; and (apart from transposing up from B flat to C) I only had to
change one note (a bass note up an octave).

Paul Magnussen
Andrew Schulman
2016-02-15 18:10:09 UTC
Permalink
Post by Paul Magnussen
Post by Andrew Schulman
Here's an 8-string version in C, with obsessive low Ds. No contortions here, not particularly difficult piece to play but also not easy.
https://www.scribd.com/doc/297664246/Couperin-The-Mysterious-Barricades-by-Francois-Couperin-arranged-by-Andrew-Schulman
It's works even better for 2 guitars in C, with the 5th & 6th strings
tuned to C and G respectively. I did it that way for my wife and myself
to play; and (apart from transposing up from B flat to C) I only had to
change one note (a bass note up an octave).
Paul Magnussen
Well, you remember that old quote from Chopin!

Andrew
David Raleigh Arnold
2016-02-01 18:15:44 UTC
Permalink
On Sun, 31 Jan 2016 15:16:28 -0800 (PST)
Post by Andrew Schulman
Post by Steven Bornfeld
If you're willing to buy a collection, it seems to be available in a
book edited by Ben Vedery. I have not seen it, but I understand it is
in D maj.
If you don't mind a transcription in C maj, it's freely available from
2cts worth here: I tried it in C and D and found it works better in C.
I'd still like to see the original music in a clean version, but from
watching the piano player it appears to be in Bb. I also saw a guitar
player on youtube strap up on the 2nd fret to play it in D. Why?

IAC the key does not appear to be a problem. The fingering may be.
Regards, Rale
adrianm11
2021-07-12 01:44:22 UTC
Permalink
Post by Fadosolrélamisi
Post by pburdett
Hi all,
Anyone know where I can get the D major arrangement of Myserious Barricades
that Ben Verdary plays?
Cheers,
Paul
I have an arr. in D but it's by Alirio Diaz ...
Following with the score (Diaz) in hand and with the music link you gave, I found that a lot of the bass were not held for their full duration, I am not familiar with the piece but I wonder how it would compare to the C version in term of the possibility to hold the bass. Anywhoo ... it's indeed a nice version and Verdery plays it superbly!
d***@gmail.com
2012-11-07 13:56:37 UTC
Permalink
Post by pburdett
Hi all,
Anyone know where I can get the D major arrangement of Myserious Barricades
that Ben Verdary plays?
Cheers,
Paul
There is always this one by Michael Chapdelaine......

David Raleigh Arnold
2012-11-07 16:50:51 UTC
Permalink
On Wed, 07 Nov 2012 05:56:37 -0800, dewachen1000 wrote:

I see that the original key is Bb. Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Site: http://www.openguitar.com (()) eMail: ***@gmail.com
Contact: http://www.openguitar.com/contact.html"
David Raleigh Arnold
2012-11-07 17:03:40 UTC
Permalink
Post by David Raleigh Arnold
I see that the original key is Bb. Regards, daveA
Triplication: not my fault. :-) Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Site: http://www.openguitar.com (()) eMail: ***@gmail.com
Contact: http://www.openguitar.com/contact.html"
d***@gmail.com
2012-11-07 19:49:18 UTC
Permalink
Post by David Raleigh Arnold
I see that the original key is Bb. Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Contact: http://www.openguitar.com/contact.html"
Yea Bb, tuned down to 395 or 415 or god knows what.
David Raleigh Arnold
2012-11-07 22:30:09 UTC
Permalink
Post by d***@gmail.com
Post by David Raleigh Arnold
I see that the original key is Bb. Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Contact: http://www.openguitar.com/contact.html"
Yea Bb, tuned down to 395 or 415 or god knows what.
C is closer than D.

Having said that, is there a playable guitar version in Bb?
What key does David Russell play it in? Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Site: http://www.openguitar.com (()) eMail: ***@gmail.com
Contact: http://www.openguitar.com/contact.html"
Jim
2012-11-07 23:08:17 UTC
Permalink
On 2012-11-07 17:30:09 -0500, David Raleigh Arnold
Post by David Raleigh Arnold
What key does David Russell play it in?
Regards, daveA
He plays it in C, here's the first page sample

http://www.productionsdoz.com/doz/DO787.pdf
Jim
2012-11-08 04:50:52 UTC
Permalink
Post by Jim
On 2012-11-07 17:30:09 -0500, David Raleigh Arnold
Post by David Raleigh Arnold
What key does David Russell play it in?
Regards, daveA
He plays it in C, here's the first page sample
http://www.productionsdoz.com/doz/DO787.pdf
OK let me correct myself, just listened to the recording, Russell
actually plays this with a capo on the first fret so it sounds in Db
major - maybe he feels a flat key better suits the music and indeed it
does have more clarity in Db. The original key of Bb doesn't sound
right on the guitar IMO, too low for the register. On the piano it's
really nice though because of the low bass notes. Here's nice
performance by Cziffra if a bit stiff somehow between the couplets.



Here's my favorite guitar performance on YouTube by Enno Voorhorst in C
- the audio is probably overdubbed or the reverb added later becaue
it's filmed outside.



The guitar produces more subtlety and detail in certain places than the
keyboard.


Jim
Jim
2012-11-08 04:53:42 UTC
Permalink
Post by Jim
Post by Jim
On 2012-11-07 17:30:09 -0500, David Raleigh Arnold
Post by David Raleigh Arnold
What key does David Russell play it in?
Regards, daveA
He plays it in C, here's the first page sample
http://www.productionsdoz.com/doz/DO787.pdf
OK let me correct myself, just listened to the recording, Russell
actually plays this with a capo on the first fret so it sounds in Db
major - maybe he feels a flat key better suits the music and indeed it
does have more clarity in Db. The original key of Bb doesn't sound
right on the guitar IMO, too low for the register. On the piano it's
really nice though because of the low bass notes. Here's nice
performance by Cziffra if a bit stiff somehow between the couplets.
http://youtu.be/uZWf9neUf1I
Here's my favorite guitar performance on YouTube by Enno Voorhorst in C
- the audio is probably overdubbed or the reverb added later becaue
it's filmed outside.
http://youtu.be/Y0bblfBVMjw
The guitar produces more subtlety and detail in certain places than the
keyboard.
Jim
Here's David Russell's recording on YouTube with capo on first fret


Cactus Wren
2012-11-08 04:58:39 UTC
Permalink
I hope it's not too off-topic, but I am very interested in David Russell's arrangement of the Handel Pasacaille, on his grand new Baroque album. It is almost like pop, so simple and just jammed with idiomatic flash!
Post by Jim
Post by Jim
Post by Jim
On 2012-11-07 17:30:09 -0500, David Raleigh Arnold
Post by David Raleigh Arnold
What key does David Russell play it in?
Regards, daveA
He plays it in C, here's the first page sample
http://www.productionsdoz.com/doz/DO787.pdf
OK let me correct myself, just listened to the recording, Russell
actually plays this with a capo on the first fret so it sounds in Db
major - maybe he feels a flat key better suits the music and indeed it
does have more clarity in Db. The original key of Bb doesn't sound
right on the guitar IMO, too low for the register. On the piano it's
really nice though because of the low bass notes. Here's nice
performance by Cziffra if a bit stiff somehow between the couplets.
http://youtu.be/uZWf9neUf1I
Here's my favorite guitar performance on YouTube by Enno Voorhorst in C
- the audio is probably overdubbed or the reverb added later becaue
it's filmed outside.
http://youtu.be/Y0bblfBVMjw
The guitar produces more subtlety and detail in certain places than the
keyboard.
Jim
Here's David Russell's recording on YouTube with capo on first fret
http://youtu.be/ECkMI78tNbY
David Raleigh Arnold
2012-11-08 07:54:31 UTC
Permalink
Post by Cactus Wren
I hope it's not too off-topic, but I am very interested in David
Russell's arrangement of the Handel Pasacaille, on his grand new Baroque
album. It is almost like pop, so simple and just jammed with idiomatic
flash!
Post by Jim
Post by Jim
Post by Jim
On 2012-11-07 17:30:09 -0500, David Raleigh Arnold
Post by David Raleigh Arnold
What key does David Russell play it in?
Regards, daveA
He plays it in C, here's the first page sample
http://www.productionsdoz.com/doz/DO787.pdf
OK let me correct myself, just listened to the recording, Russell
actually plays this with a capo on the first fret so it sounds in Db
major - maybe he feels a flat key better suits the music and indeed it
does have more clarity in Db. The original key of Bb doesn't sound
right on the guitar IMO, too low for the register. On the piano it's
really nice though because of the low bass notes. Here's nice
performance by Cziffra if a bit stiff somehow between the couplets.
http://youtu.be/uZWf9neUf1I
Here's my favorite guitar performance on YouTube by Enno Voorhorst in C
- the audio is probably overdubbed or the reverb added later becaue
it's filmed outside.
http://youtu.be/Y0bblfBVMjw
The guitar produces more subtlety and detail in certain places than the
keyboard.
Jim
Here's David Russell's recording on YouTube with capo on first fret
http://youtu.be/ECkMI78tNbY
I fail to see any reason not to try Bb and A. Few keyboard
pieces sound best in the original key on guitar, but some do. Of
course the original pitch was possibly A or even lower. I
could not help but notice that the version in D was
very bassy too. Cleaning up the incorrectly sustained
bass notes could help a lot.

It would also help to know whether "The Mysterious
Barricades" was a legend, a novel, an opera, a
reference, or whatever. No one seems to know. That's
truly mysterious. ;-) Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Site: http://www.openguitar.com (()) eMail: ***@gmail.com
Contact: http://www.openguitar.com/contact.html"
Fadosolrélamisi
2012-11-09 00:51:37 UTC
Permalink
Post by David Raleigh Arnold
Post by Cactus Wren
I hope it's not too off-topic, but I am very interested in David
Russell's arrangement of the Handel Pasacaille, on his grand new Baroque
album. It is almost like pop, so simple and just jammed with idiomatic
flash!
Post by Jim
Post by Jim
Post by Jim
On 2012-11-07 17:30:09 -0500, David Raleigh Arnold
Post by David Raleigh Arnold
What key does David Russell play it in?
Regards, daveA
He plays it in C, here's the first page sample
http://www.productionsdoz.com/doz/DO787.pdf
OK let me correct myself, just listened to the recording, Russell
actually plays this with a capo on the first fret so it sounds in Db
major - maybe he feels a flat key better suits the music and indeed
it
does have more clarity in Db. The original key of Bb doesn't sound
right on the guitar IMO, too low for the register. On the piano it's
really nice though because of the low bass notes. Here's nice
performance by Cziffra if a bit stiff somehow between the couplets.
http://youtu.be/uZWf9neUf1I
Here's my favorite guitar performance on YouTube by Enno Voorhorst in
C
- the audio is probably overdubbed or the reverb added later becaue
it's filmed outside.
http://youtu.be/Y0bblfBVMjw
The guitar produces more subtlety and detail in certain places than
the
keyboard.
Jim
Here's David Russell's recording on YouTube with capo on first fret
http://youtu.be/ECkMI78tNbY
I fail to see any reason not to try Bb and A. Few keyboard
pieces sound best in the original key on guitar, but some do. Of
course the original pitch was possibly A or even lower. I
could not help but notice that the version in D was
very bassy too. Cleaning up the incorrectly sustained
bass notes could help a lot.
It would also help to know whether "The Mysterious
Barricades" was a legend, a novel, an opera, a
reference, or whatever. No one seems to know. That's
truly mysterious. ;-) Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Contact: http://www.openguitar.com/contact.html"
Well ... it's a rondeau, at least, this much we known.
thomas
2012-11-09 01:46:31 UTC
Permalink
Post by David Raleigh Arnold
It would also help to know whether "The Mysterious
Barricades" was a legend, a novel, an opera, a
reference, or whatever. No one seems to know. That's
truly mysterious. ;-) Regards, daveA
I hear it as a chastity belt with a combination lock. Each variation in the rondo is a different attempt to open the lock. The main theme is clearing the lock, and the motivation for trying again.
Fadosolrélamisi
2012-11-09 05:58:36 UTC
Permalink
Post by thomas
Post by David Raleigh Arnold
It would also help to know whether "The Mysterious
Barricades" was a legend, a novel, an opera, a
reference, or whatever. No one seems to know. That's
truly mysterious. ;-) Regards, daveA
I hear it as a chastity belt with a combination lock. Each variation in the rondo is a different attempt to open the lock. The main theme is clearing the lock, and the motivation for trying again.
Peut-être que les barricades mysterieuses representent ce mur enigmatique contre lequel nous nous butons lorsque nous tentons de reconstituer les elements de la vie cet homme dont nous savons si peu de chose... En effet, ce que nous savons de la vie de ce grand claveciniste est si mince qu'il ne nous reste comme choix que celui de l'inventer. Certes nous voudrions que de cette esquisse surgisse les traits d'un homme dont la vie aurait été à la hauteur de la musique qu'il a créée mais ... voilà, c'est la que se dresse la barricade et derriere elle, le mystère restera entier.
Matt Faunce
2012-11-09 15:24:32 UTC
Permalink
Perhaps th' mahsterious barricades represent this hyar enigmatic
wall aginst which we stumble when we try t'reconstruck th' elements
of life thet man whom we knows so li'l ... Indeed, whut we knows of
th' life of this hyar great harpsicho'dist is so skimpy thet we make a
choice as t'invent it. Sartinly we'd like this hyar arise sketch th'
features
of a man whose life was at th' height of th' moosic he created, but ...
hyar,
it is thet stan's behind it an' th' barricade, th' mahstery remains whole.
Certainly.

Furthermore, the tempo: The tempo is marked "vivement," but many people
think it takes away from the mysterious character of the piece. I think
the tempo marking adds yet another layer of enigma.
--
Matt
Fadosolrélamisi
2012-11-09 17:32:32 UTC
Permalink
Post by Matt Faunce
Perhaps th' mahsterious barricades represent this hyar enigmatic
wall aginst which we stumble when we try t'reconstruck th' elements
of life thet man whom we knows so li'l ... Indeed, whut we knows of
th' life of this hyar great harpsicho'dist is so skimpy thet we make a
choice as t'invent it. Sartinly we'd like this hyar arise sketch th'
features
of a man whose life was at th' height of th' moosic he created, but ...
hyar,
it is thet stan's behind it an' th' barricade, th' mahstery remains whole.
Certainly.
Furthermore, the tempo: The tempo is marked "vivement," but many people
think it takes away from the mysterious character of the piece. I think
the tempo marking adds yet another layer of enigma.
--
Matt
Pretty close ... even the accent is close to the one I have when I speak Shakespeare. Bravo! As for the tempo ... Already at that time they were playing everything too fast.
If you have time to read the text on Couperin by Frederick Haas on his site ... this guy know not only how to play but he also write Molière like a true master... Very enlightening text on the rapport a musician has with the music he chooses to play. What a writer!
Matt Faunce
2012-11-09 19:18:18 UTC
Permalink
Post by Fadosolrélamisi
Post by Matt Faunce
Perhaps th' mahsterious barricades represent this hyar enigmatic
wall aginst which we stumble when we try t'reconstruck th' elements
of life thet man whom we knows so li'l ... Indeed, whut we knows of
th' life of this hyar great harpsicho'dist is so skimpy thet we make a
choice as t'invent it. Sartinly we'd like this hyar arise sketch th'
features
of a man whose life was at th' height of th' moosic he created, but ...
hyar,
it is thet stan's behind it an' th' barricade, th' mahstery remains whole.
Certainly.
Furthermore, the tempo: The tempo is marked "vivement," but many people
think it takes away from the mysterious character of the piece. I think
the tempo marking adds yet another layer of enigma.
--
Matt
Pretty close ... even the accent is close to the one I have when I speak Shakespeare. Bravo!
I used Google Translator then the Dialectizer to redneck. Do you speak
Shakespeare in redneck? Cool. ... Actually, I don't think the
Dialectizer did a good job on this one.

I took a half a year of French in seventh grade then another half a year
of French as a freshman in high school. I've since let those skills go
to shambles. I revived it a little bit before visiting Paris, then let
it go again. I would like to revive what I learned and then learn more.
Maybe some day I'll get to it.

As for the tempo ... Already at that time they were playing everything
too fast.
Post by Fadosolrélamisi
If you have time to read the text on Couperin by Frederick Haas on his site ... this guy know not only how to play but he also write Molière like a true master... Very enlightening text on the rapport a musician has with the music he chooses to play. What a writer!
I looked for it on Amazon and didn't find it. I'll look elsewhere and
see what I find.

I did find his version of Les Mistériouses Barricades on youtube.


I have to say, I don't have a favorite version of this piece, but I
appreciate the variety. Any one version (of the good ones), say
Verdery's or Parkening's, gets it's strength when contrasted with the
others.
--
Matt
Fadosolrélamisi
2012-11-09 21:09:12 UTC
Permalink
Post by Matt Faunce
Post by Fadosolrélamisi
Post by Matt Faunce
Perhaps th' mahsterious barricades represent this hyar enigmatic
wall aginst which we stumble when we try t'reconstruck th' elements
of life thet man whom we knows so li'l ... Indeed, whut we knows of
th' life of this hyar great harpsicho'dist is so skimpy thet we make a
choice as t'invent it. Sartinly we'd like this hyar arise sketch th'
features
of a man whose life was at th' height of th' moosic he created, but ...
hyar,
it is thet stan's behind it an' th' barricade, th' mahstery remains whole.
Certainly.
Furthermore, the tempo: The tempo is marked "vivement," but many people
think it takes away from the mysterious character of the piece. I think
the tempo marking adds yet another layer of enigma.
--
Matt
Pretty close ... even the accent is close to the one I have when I speak Shakespeare. Bravo!
I used Google Translator then the Dialectizer to redneck. Do you speak
Shakespeare in redneck? Cool. ... Actually, I don't think the
Dialectizer did a good job on this one.
I took a half a year of French in seventh grade then another half a year
of French as a freshman in high school. I've since let those skills go
to shambles. I revived it a little bit before visiting Paris, then let
it go again. I would like to revive what I learned and then learn more.
Maybe some day I'll get to it.
As for the tempo ... Already at that time they were playing everything
too fast.
Post by Fadosolrélamisi
If you have time to read the text on Couperin by Frederick Haas on his site ... this guy know not only how to play but he also write Molière like a true master... Very enlightening text on the rapport a musician has with the music he chooses to play. What a writer!
I looked for it on Amazon and didn't find it. I'll look elsewhere and
see what I find.
I did find his version of Les Mistériouses Barricades on youtube.
http://youtu.be/TFqds_k0r6k
I have to say, I don't have a favorite version of this piece, but I
appreciate the variety. Any one version (of the good ones), say
Verdery's or Parkening's, gets it's strength when contrasted with the
others.
--
Matt
here it is ... (but unfortunately in French!) It's a really nice, thoughtful text, and I wish we had a guitar player who could express in the same manner the intimate relationship one develop with the instrument, the process and the artistry, the searching and the findings, like this guy has done it with the harpsichord in this article.

http://www.frederickhaas.com/linktxt_en.php?DOC_INST=102

Verdery's (Diaz) version is quite something, I like it (Thanks Paul for posting the Verdery Video link).
But ... I am afraid I'll have to settle (like many others) for the C major version ... Up to now, Richard Yates as the best A part.
thomas
2012-11-09 01:44:17 UTC
Permalink
Post by Cactus Wren
I hope it's not too off-topic, but I am very interested in David Russell's arrangement of the Handel Pasacaille, on his grand new Baroque album. It is almost like pop, so simple and just jammed with idiomatic flash!
This one?



It's gorgeous. That's a virtuoso piece if I've ever heard one. Way beyond my chops.
Cactus Wren
2012-11-09 03:26:07 UTC
Permalink
That one! Cool that you found that video.
Jim
2012-11-09 04:49:35 UTC
Permalink
On 2012-11-08 22:26:07 -0500, Cactus Wren
Post by Cactus Wren
That one! Cool that you found that video.
For those interested here's the sheet music for purchase, it's the last
movement of the Suite VII (HWV432)

http://www.dobermaneditions.com/en/sheet-music-for-guitar/guitar-solo/c378122252/p17264030.html
Fadosolrélamisi
2012-11-08 01:26:30 UTC
Permalink
Post by David Raleigh Arnold
Post by d***@gmail.com
Post by David Raleigh Arnold
I see that the original key is Bb. Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Contact: http://www.openguitar.com/contact.html"
Yea Bb, tuned down to 395 or 415 or god knows what.
C is closer than D.
Having said that, is there a playable guitar version in Bb?
What key does David Russell play it in? Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Contact: http://www.openguitar.com/contact.html"
And following this logic A his closer to Bb ... Would not that be the ideal key to play les barricades?
Jim
2012-11-08 04:56:03 UTC
Permalink
Post by David Raleigh Arnold
Post by d***@gmail.com
Post by David Raleigh Arnold
I see that the original key is Bb. Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Contact: http://www.openguitar.com/contact.html"
Yea Bb, tuned down to 395 or 415 or god knows what.
C is closer than D.
Having said that, is there a playable guitar version in Bb?
What key does David Russell play it in? Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Contact: http://www.openguitar.com/contact.html"
And following this logic A is closer to Bb ... Would not that be the
ideal key to play les barricades?
Well if you transcribed/arranged and played it in A and then put a capo
on the first fret you'd get Bb - that would be ideal ;-)
David Raleigh Arnold
2012-11-07 16:51:21 UTC
Permalink
On Wed, 07 Nov 2012 05:56:37 -0800, dewachen1000 wrote:

I see that the original key is Bb. Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Site: http://www.openguitar.com (()) eMail: ***@gmail.com
Contact: http://www.openguitar.com/contact.html"
David Raleigh Arnold
2012-11-07 16:52:56 UTC
Permalink
On Wed, 07 Nov 2012 05:56:37 -0800, dewachen1000 wrote:

I see that the original key is Bb. Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Site: http://www.openguitar.com (()) eMail: ***@gmail.com
Contact: http://www.openguitar.com/contact.html"
pburdett
2012-11-07 20:29:42 UTC
Permalink
I paid for and downloaded David Russel's transcription..very nice, as well
as Yates'...I guess they'll have to do....not much time to do my own....too
busy teaching music to high school students here...some of them even want to
learn!!

Paul
Post by David Raleigh Arnold
I see that the original key is Bb. Regards, daveA
--
Guitar teaching materials and original music for all styles and levels.
Contact: http://www.openguitar.com/contact.html"
JPD
2012-11-07 20:52:51 UTC
Permalink
Post by pburdett
I paid for and downloaded David Russel's transcription..
From where did you download that, please? I don't see it on his site.
Jim
2012-11-07 23:05:29 UTC
Permalink
Post by JPD
Post by pburdett
I paid for and downloaded David Russel's transcription..
From where did you download that, please? I don't see it on his site.
http://www.productionsdoz.com/en/sheet-music-for-guitar/solo-guitar/couperin-f/DO-787.html
JPD
2012-11-07 23:19:08 UTC
Permalink
Post by JPD
Post by pburdett
I paid for and downloaded David Russel's transcription..
From where did you download that, please? I don't see it on his site.
http://www.productionsdoz.com/en/sheet-music-for-guitar/solo-guitar/c...
Thank you, Jim.

Btw, do we know your last name? (If you'd rather not say, I
understand.)
pburdett
2012-11-08 06:52:06 UTC
Permalink
Post by Jim
Post by JPD
Post by pburdett
I paid for and downloaded David Russel's transcription..
From where did you download that, please? I don't see it on his site.
http://www.productionsdoz.com/en/sheet-music-for-guitar/solo-guitar/couperin-f/DO-787.html
Great to see others interested in this music...still prefer Ben V's
arangement though...:)
Paul
Fadosolrélamisi
2012-11-08 15:27:38 UTC
Permalink
Post by Jim
Post by JPD
Post by pburdett
I paid for and downloaded David Russel's transcription..
From where did you download that, please? I don't see it on his site.
http://www.productionsdoz.com/en/sheet-music-for-guitar/solo-guitar/couperin-f/DO-787.html
Great to see others interested in this music...still prefer Ben V's
arangement though...:)
Paul
You're right, there is something with the D major that makes it more ... guitar like. I look at them both last night and even if the C major version is (globally) easier for the A part of the rondo at least the D major arr. add something that makes it livelier. By the way Alirio Diaz version seems to be the one version Verdery is playing. Very similar in fingerings. That squeazy 2 finger in fret 7 on the D major chord start needs some care to keep the intonation from going twing (I really hate that position, but a little suffering is sometimes necessary to arrive at good result) but beside that ... Diaz version is totally manageable.
Loading...