Couperin - Les barricades Misterieuses trouble
Hi all,
Been trying to play this piece and Iām am greatly struggling with finger pedaling and getting the timing of when to let go and stay on a note; my brain and fingers canāt wrap around the rhythm.
Also, am I correct in interpreting that there are also 4 voices that need to be brought out? If thatās the case ā¦ my brain is gonna 
Any advice appreciated
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Andrew,
I have not heard this performed on piano. However, I am very familiar with it on classical guitar. Here are three of my favorite guitarists. Perhaps it will help you hear the rhythm and voices.
https://www.youtube.com/watch?v=_Q07D9YhRLQ
https://www.youtube.com/watch?v=bgT_vjEaOf4
https://www.youtube.com/watch?v=xp6J6MKkMYk
Martha
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When I try to learn pieces in different voice, the first thing I do, is marking the different voices and play every voice alone, but with the final fingering. Then I try to play two voices together, first and second, first and third, second and third, then the whole piece.
Time consuming but worth the effort.
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Hi Andrew! I fully understand you. Have played the piece 10 years ago. I practice each voice seperatly with the right fingering. And than I have practiced in a slow tempo and without pedal first, so you can find out what you can play legato with fingers and where the pedal is necessary. Unfortunatelly I canāt find my score. If I find it I can tell you more. Good luck.
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Kerstin Thanks for your reply! I already have done what you wrote of but it still sounds odd. Maybe I will post a video of me practicing to get some feedback.
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Here are my fingerings for this wonderful piece. I use finger pedaling and have always felt the pulse in two beats per measure. It might be easier to just think about when to to release by paying special attention to the rests, than worrying about whether to connect to the next note or not. The rests are critical.
There are four voices but I do not think they should make your brain explode. So much piano music has a four voice structure, like a Bach chorale prelude. In this piece I feel like the left hand often has a conversation between the two voices (more pronounced towards the end of the third couplet, where the harmony intensifies) and in the right, the soprano (top) voice is the most important. There are many ways to play this piece, you will find what is right for you.
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Zachary Thank you for your attachments and response! What do you mean by the ārestsā? There actually arenāt many written. Youāre right that there is so many ways to play this piece as Iāve heard so many different interpretations. I might post a video of me practicing soon.
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