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I have never played any of these or anything like it by other composers. I use the Dohnanyi book to work on technique but I'm considering working on a Chopin Etude. I heard Mei-ting(I think was his name) play op10/1 and I just love the way that piece makes the piano sound. It also seems like it would be cake to memorize(even if a real challenge to actually play). Is this piece useful as a technical exercise or more as a showpiece(seems like a dumb question)? I also don't want to create any bad habits playing it that could lead to injury because I still haven't found a new teacher yet. Just looking for something to spice up my exercise routine. Any non-Chopin suggestions would also work for me. I'm also starting to work on the Eb op90/2 by Schubert because it seems like a good workout for clean runs and scales etc. I also would like to play #8 in the Chopin set at some point.
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They are very useful to play, but I think that you have to be ready. If you are not ready technically and musically, they will be over your head. This may create physical problems, and slow down your progress instead of help it.
I would recommend the Moszkowski Op. 72 Etudes first - they are a bit easier to understand and play, but will still help your technique. A good teacher is essential, to tell you what you are doing wrong and to advise you to move on when ready.
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Originally posted by CrashTest: They are very useful to play, but I think that you have to be ready. If you are not ready technically and musically, they will be over your head. This may create physical problems, and slow down your progress instead of help it.
I would recommend the Moszkowski Op. 72 Etudes first - they are a bit easier to understand and play, but will still help your technique. A good teacher is essential, to tell you what you are doing wrong and to advise you to move on when ready. I like Czerny. You can switch the material from the right hand to the left hand for each of the czerny exercises to develop your left hand properly. And, if you can breathe life in Czerny studies, imagine how the Chopin studies would sound, eventually .
Amateur Pianist, Scriabin Enthusiast, and Octave Demon
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Yes, Czerny is fine too. So are the Brahms Exercises, and even Hanon.
Anything can be good if you practice it properly - listen to every note, make sure everything is even, and be relaxed.
Before you know it, you will be able to tackle Chopin etudes - but it is not advised to do so until proper study of rudimentary piano technique is accomplished.
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I have done Czerny and Cramer-Bülow while studying for my teacher in the 60-ties (who by the way claimed I was not ready for anything by Chopin). And I know, I must go on with the basic finger exercises, and some etudes htat I can play by heart, for warming up and keeping up the technique.
But I have started with Chopin on my own some years ago. Some of the preludes, Nocturne Op 9, Nr 1, and recently I tried Etude Op 10/1. It is nothing for the left hand but very hard for the right hand with all those mixed large and narrow intervals.
It is very agreeable to your ear and indeed a showpiece, but my ambition is only to play it as a very musical exercise for my right hand at little more than half of the prescribed tempo, absolutely correctly. There are a few very awkward downward arpeggios that pobalby will prevent me from playing a tempo. Luckily for the memorization, many figures are repeated.
In do not know whether the fingering in my score is original Chopin, but mostly it works. In a couple of bars I have changed the fingering slightly, and at two similar spots radically. I have checked that my fingering also works in increased tempo, which not always is the case with inventions of your own.
I think the op 25/1 which I also have read through in slow tempo, is much easier.
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Why not get the Godowsky Studies on the Etudes of Chopin No 1 : Chopin's Op 10 No 1 transcribed for both hands, primarily in contrary motion. No 2 : Chopin's Op 10 No 1 for LH alone in Db major That should keep you busy for a while! Cheers!
BruceD - - - - - Estonia 190
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On some forum it was claimed that etudes that are not at the same time developing the technique and nice sounding are a waste of time, in comparison to pure finger exercises on one side and musical pieces on the other.
Pure exercises have repeated figures that you catch very fast and can play without a score. That time effective playing.
Now the original etudes of Chopin are mostly musically very interesting and can be performed on the stage, which cannot be said about many other etudes.
And remember there are also "normal" pieces that are very demanding technically. Why not trey them in stead of pure etudes?
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Originally posted by Jan-Erik: On some forum it was claimed that etudes that are not at the same time developing the technique and nice sounding are a waste of time, in comparison to pure finger exercises on one side and musical pieces on the other.
Pure exercises have repeated figures that you catch very fast and can play without a score. That time effective playing.
Now the original etudes of Chopin are mostly musically very interesting and can be performed on the stage, which cannot be said about many other etudes.
And remember there are also "normal" pieces that are very demanding technically. Why not trey them in stead of pure etudes? I very much agree with that - I have played six of the op.10 etudes, but when my new teacher set me some actual technical exercises to practise (various ones from Hanon and Brahms), I could really see the gaps in my technique which are too easy to hide when playing concert etudes. For me, it is that the strength of my fingers is not that great, but I compensate with weight from my arms or body - easy to hide this in the way a piece sounds, but after just a few weeks of practising these exercises daily, I feel much more balanced. I don't think I would have corrected this if I had continued with just the Chopin.
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Chopin etudes are a challenge both for the hand and for the brain.
One big differnce between concert etudes and pure exercices: In pure finger exercises you do not use sustain pedal. This devise will cover, and on some spots has to cover, what you cannot reach with your fingers only.
It is very usefull to study etudes first in a slower tempo without the aid of the pedal. Then, when performing, and using the pedal, they feel much easier.
Duvernoy, Heller, Czerny etc are normally played without sustain pedal.
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It's not just a matter of the sound quality - the fact is that it doesn't matter how you play the piano (to an extent), if it sounds good - it's difficult to pick up things like that in a piece where the emphasis is on what it sounds like, rather than how you play it.
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by Gino2 - 04/17/24 02:34 PM
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by Gino2 - 04/17/24 02:23 PM
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