LE TOMBEAU DE RAVEL

The Prelude in A minor, ( 4/4) is in many ways a parallel work to Ravel's prelude for the Tombeau to Couperin in that it conforms rhythmically, although without the use of triplets (Ravel's prelude has a 12/16 time signature), repeats the opening section and flows continuously throughout.

The Toccata & Musette in E minor, (4/4) is true to the original Italian form but somewhat less forceful than a typical Bach toccata being in sympathy with the range and dynamics of the guitar. The Musette is a capricious deviation from the relentless rhythmic intensity of the main theme in much the same way that Ravel was given to short surrealistic interludes.

The Minuet in D major, (3/4) is true to the French originals being diminutive in form. It presents an uncomplicated but infectious melody infused with a subtle harmony in counterpoint which ascends and descends in short steps to emulate the footwork of the dancers.

The Taranta in B minor, (6/4) is a radical departure from the traditional movements found in a Renaissance or Baroque suite. This piece is based on the songs sung by Spanish miners and echos the “Ta – ran – ta - ra” call of the subterranean workers which was a call (Llamada) traditionally used to announce a song or message. Although the key signature is Bm the music is loosely formed around the Phrygian mode and therefore begins the main theme on a firm F sharp in the bass and finishes with a chord of F sharp minor with an added sixth.

The Pavane in C major, (4/4) is a return to traditional 16^th. century form but the melody and harmonies maintain a deliberate remoteness from the tonic giving the movement a distant quality. The music surrenders its aloof character in the last two bars with a plagal cadence.

The final movement, Gigue en Rondeau in E minor, (6/8) is also faithful to classical form with the premier theme acting as a chorus between the repeated second and third sections. The coda is a semi-humorous affirmation of the gigue's jazz-like character.