By the latter part of the 1900s Ravel had established a pattern of writing works for piano and subsequently arranging them for full orchestra. He was in general a slow and painstaking worker, and reworking his earlier piano compositions enabled him to increase the number of pieces published and performed. There appears to have been no mercenary motive for this; Ravel was known for his indifference to financial matters. The pieces that began as piano compositions and were then given orchestral dress were "Pavane pour une infante défunte" (orchestrated 1910), "Une barque sur l'océan" (1906, from the 1905 piano suite "Miroirs"), the Habanera section of "Rapsodie espagnole" (1907–08), "Ma mère l'Oye" (1908–10, orchestrated 1911), "Valses nobles et sentimentales" (1911, orchestrated 1912), "Alborada del gracioso" (from "Miroirs", orchestrated 1918) and "Le tombeau de Couperin" (1914–17, orchestrated 1919).