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Contents:
  1. Chopin: Scherzi, Etudes, Mazurkas
  2. Étude No. 19 in C-Sharp Minor, Op. 25 No. 7 (Live) - Etude No. 19 in C-Sharp Minor, Op. 25, No. 7
  3. Chopin - Cello Etude Op No.7 for Tuba | Ellis Music

Don't click here! Thanks gerg. Now if I can just memorize those points, I should have it after about repetitions! Originally posted by caduceus: Thanks gerg. I agree Bruce, and it is precisely getting the notes in-hand that I had in mind here.

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Chopin: Scherzi, Etudes, Mazurkas

The idea is just to get the notes relative to each other the hand. Once it "clicks" in the pianist's musical brain, then the music can begin, with phrasing, moving the notes around a bit in time as you inferred. I am speaking from experience.

Richter Live: Chopin, Etude in C-sharp minor. Op. 25, No. 7 (1977)

It has a similar problem, although the rhythmic pattern repeats throughout the piece, such that the rhythm only needs to be learned once and is then globally applicable. Will it be played with mathematical precision? If it is, then I have failed as a musician It actually comes out kinda dissonant when timed precisely. I know Chopin is always quoted for saying that rubato should always be in the right hand, with the left maintaining strict time; clearly the hands should be reversed here. The previouse runs accelerate toward tension; this measure resolves. It almost seems logical that the run should reverse then, starting quickly and slowing toward the end, with the right hand in perfect time???

I am playing from an Alfred masters edition; the notes are roughly evenly spaced.

Étude No. 19 in C-Sharp Minor, Op. 25 No. 7 (Live) - Etude No. 19 in C-Sharp Minor, Op. 25, No. 7

I guess if Chopin wanted it mathematically timed, he probably wouldn't have written it in grace notes! For some reason people attribute it to Chopin. It doesn't even make sense trying to do that to Chopin's music--that'll be way too rigid. As for m. After you know the notes by micro-groups, you can be "less precise" and do as much rubato as you want.


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I only have one advice, play "with ears" and by that I mean, forget technique, focus on the color, on the sound, on different ambients in the etude. This is one of those etudes that want those kind of things in order to sound great. First imagine the sound, and then produce it. I partially agree. Mozart wrote a letter to his father indicating such, giving him credit as the first to document the idea, but Chopin is quoted by his student Wilhelm von Lenz: "The left hand is the conductor" - obviously meaning that the left hand keeps time.

Karkowski wrote in his biography of Chopin's playing "the bass went along in quite regular time, while the right hand moved in complete freedom. Source: Palmer, Chopin an introduction to his piano works.

Chopin - Cello Etude Op No.7 for Tuba | Ellis Music

I know I've seen these types of things elsewhere, but I'm much too lazy to search for sources now. This forum is way too addictive. Gotta practice! I ended up just approximating the notes until I could get it somewhat smooth, switched back and forth from HS to HT. Now I'm just trying to get the RH to maintain a nice pulse.

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Re: Chopin Etude Op. John Vasa inania multum strepunt. Regards, BruceD - - - - - Estonia Quote Originally posted by caduceus: Thanks gerg. No, definitely not! That might be fine for practicing to get the notes in your hand, but I really think you're going about it the wrong way. Certainly in performance I would think that the last thing you want to do is give your audience the impression that this passage is mechanically, mathematically calculated to give exactly the same number of LH notes to each RH chord.

The LH passage is a surge that can start relatively slowly, increase in tempo and, depending on your interpretation, even slow down slightly as the passage ends. You need to decide where and how the passage climaxes and then resolves. Passages like this occur throughout Chopin's writing and it's never meant that such passages should be mathematically calculated with the same number of notes per beat in one hand against the regular beats in the other.

Look at the previous measure where, more specifically, Chopin has divided the passage into fourteen LH notes on the first beat, eight on the second beat and twelve on the third beat. That's the sort of division you should be aiming for in measure 27 as well. It's up to you to decide on what notes the beats should come in the left hand.

There's also a ritenuto marking in this measure which gives you a little time to let the whole measure "breathe" but, please, don't aim for getting exactly the same number of notes in each beat of this measure! Our Most Popular Forums. Digital Pianos - Electronic Pianos - Synths Piano Forum. FAQ - Piano Forum. Piano Tuner-Technicians Forum. Adult Beginners Forum. Allen Barton. Historical Performers. Chopin: Arrangements for String Quartet. Tandem Classics. Chopin: Cello Waltzes, Vol.

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