cortot chopin etudes op10

8/4/2019 Cortot Chopin Etudes Op10

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,~ ~12 [,TUDESOp.JO

i. ,

~. -

~ STUDENT'S KDITIONBY

" ,ALFRED CORTOT-TRANSLATED BYM. PARKINSON

EDITIONS SAL,ABERT575Madison Avenue 22, rue ChauchatNew York Paris


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CHOPIN12 ETUDESOp. 10

STUDENT 'S EDITIONBY

ALFRED CORTOTTRANSLATED BYM. PARKINSON

ALFRED CORTOT

Study, not only the difficult pauage but thedifficulty itself reduced to its most elementaryprinciples.

PROPERTY OFCUYAHOGA COUNTYPUBLIC UBRARY-EDITIONS SALABERT

575Madison AvenueNew York

22, rue ChauchatParis


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~" .STUDY N 1[Op. to)

While practising this Study, the student should concentrate especially on: strength or the Iingersimproving the stretch of thc hand. Authority and spirit.

First difliculty to ooercotne : Stretch and firmness in shifting the hand over nearly the whole lengthof the keyboard.First ~ofall, obtain a correct position of the hand, and firmness of attack by the following exercise a.lnptedtu every figure of two bars :

t --rt 5 58. ~:--"'1N ! t. I ~ ~ I I ~--. .[~ . . . . .~.+

Avoid d...b:tia5 tilt' h,'llll towards the little finger; repeat each passage forte and in a moderate tempo:ive times with heavy staccato of the forearm, the wrist remaining supple - and five times perfectly legatoinsomuch as the wide S' retch separating the two farthest notes will allow).

Further, practise the following figures which apply to the whole study

Then, concentraung on the stretching and special practise of the thumb by which exercise the requiredlegato will be obtained

N;i. ~5~ 4"5 45 5"5 ~4 a.-!,..i r rIC.! k" 0:. N 8 . \-2 . J . . . . J . ~ .! J t 2"_. et,eI . . (1)~ - -~-r rIC. . . "f - - ' J ! ~ ete. . . . . :

In these last two exercises, place the thumb immediately over the note to be played and, at the sametime, let the fingers remain firmly on their respective keys.

In figure N0 8, the 4th finger passes immediately over the 5th which serves as a pivot when the hand isshifted upwards; when the hand is shifted downwards, the 2nd finger passes immediately over the thumb,grazing the keyboard with a quick lateral motion.


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8Repeat 4 times each of the figures 5,6, 7, 8; the first and second time slowly, then quickening the tempo

but playing jone and perfectly legato.Second difficulty to overcome : Evenness of tone-value and individual strength of each finger; fluency

and firmness; perfect legato.t ~ > !!a s5 t t L f . f f t f w t c ttu illm([f t ~~~.h;' r . times I, ....d .. lly quickening the" Ii . 4. Ii" Ii > 4 . '. .Nto. z > 5 C o 2 5 Ii Ii . tte. Play 10 tunes; taking care to give the due accentwhile avoiding any motion of the hand: from m]

> > to /, slowly.:> . > > :> :>Ntl. 2 t24 2"~ ~2~J!2 Ii ftc.t E p C r D t l t . p F ; F V F t r C C r; times, lightly and in a rather quick tempo, hut always legato.Further, practise with the following rhythms, in moderate tempo and always f ff f.

!J:! ;._ r-; ~ b r u f H r f r t ; t fItPiflr,,} 5 LimesN n .:a _ ~ i51~ dC.~!:!5i\6 . _., fJq riE !(&C . L Ut-f#J ' ! , c . = 1 a timesNOt!.. .. :> ~ _ . 5 4 >.....4 I i ' " ' . 5 2~ ftc.~ J. 5, J J i l r r r t r : - ; r r g r t J i - d C . 4 U times

> 4 4> ::0..... 4Nta. Ii 1 5 2~ d C . ~ at._ IiIMt t L W iE I f f l ! t , . t 6 timesThe hand should remain very firm on every long note, and the fingers that play the demisemiquavers

should continue to articulate neatly, nevertheless without being raised too far back from the keyboard.Avoid rolling the fingers in practising this exercise.When the preparatory practice has thus been gone through for every figure of two bars, of which this

Study is composed, - excepting bars 42, 43, and 44, which should be played in the followingmanner :5"'-- 145-- r: 5-~*U 6 f U_Mfi IUijErfr~ltliiiijj_l,t,.

that is to say, by extending this figure to a wider range of the keyboard, - the .performance or the wholeStudy should be attempted, by playing it throughout five times, the first time 1 and slowly: the second timelowly still but P - not disregarding the dynamics which should be suggested rather than actuaHy played;he third time 1 again without nuances but in quick tempo; the fourth time slowly, with dynamics exactlyobserved - its real values a trifle exaggerated even; and the fifth time in the real tempo, with the dynamics,pulse and spirit required to achieve a first-class interpretation of this piece.Carefu1lyavoid overstrain from practising the exercises too long. This remark applies, by the way, to

he practice of all the passages containing stretches. Frequently interrupt this kind of exercise by others ofeld notes, such as :

played preferably p and mj; this, by replacing the fingers in their normal position, will secure the balancenecessary to a methodical development of the muscles of the hand.

It willprove excellent practice when once the Study is thoroughly perfected, to play it slowly, transposing


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9J 2 STUDIES

(Op. 10)*4kal6d. to Fnnz LISZT Fr. CHOPIN

STUDY N I

-------------~ - - - - - - - - - - - - - - - ~ = ~ *~. *~.--------4- *

~--------*~ * ~ - - - - - - - - ~ * ~

~ - - - - - - - - - - - - ~ . - ~ _ ,= 6spressifJo* ~ ~ - - - - - - - - - - - - - ~ - - - - ~ ~ -


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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-~~~~-~-~-~- .- _ . _ - - 1_._.- ,--~----.--- u~ ~ - - - - - - - - - - - - - - - - - - - -Jt4' -----------~~:------__:;:~---_:_~-~;:;: .....fro. Y ( :'jro. :}[:~.

: } [ :- . - - - - - - - - - - - - - - - - ~ *

.\' * 'fro. *# ! . i t !i"~! ~!.'The use of the following fingerings ~ l " t C r t r l , ! f i b t r r t ' t r i _ _ is not admissible when per-B;,,' :!.! Bar :3 Bar Iitming; indeed, by altering the position of the hand. we necessarily alter the tone-value of the passage. But this exercise

.' 8....T;....:' ~ 5ll be useful for practising the passmg ~nder Ex. 5 ~ ~ t v . 1;lett" ; , " , 2 1 . S ! t 2 ! . . t c .the thumb and can profitably be applied to ~ ~ )~ Iq~whole Study.Bar 2'} 8 ~.... Bar ~I)

In certain editions, the following flgun- ~ is IISf'd for Ihe last heal of bar 29.


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crescoo.) t 2 4,

~ - - - -~ . --------------~ *

- -eo* ~~ ---------- *

"U&2~. 'U-------:1


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2

fliuf

~ - - - - - - - - - - - - - - - - - - - -'U~-------------~'fth

~ _ _.- - - - - - - - - - - - - - - - -~= -

*

*~----------~ " - - - - - - - - - - - - - - - - - - - - - - ~~.

* ~ :-----------------------*~


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oreso.

- - - - - - - - - - - - - - - - - - - - - - - ~' f r o .

~ ~ - . . _ _ - - - - - - - - - - - - - - - ; * ~ * ~ - - - - - - - - - - - - - - - - - - -*-& -..__ __

- - - - - - - - - - - - - - - - -*~':--- ___...U -&(0) 'U:>D). Here a Blight vibrato of t.he pedal will secure the 32-foot sonority of the organ for this final Dote.


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STUDY N 2(Op, 10)

The student should concentrate on: Independance and even playing of the weaker fingers (3rd, 4th, 5th) -improvement of the legato action. Correct position of the hand. Lightness. Dexterity.

Difficulties to overcome: Crossing of 3rd, 4th and 5th fingers. Strain resulting from the continuous actionof the said fingers. Divided muscular action of the hand into two elements, one playing the predominantpart, the other merely the accompaniment.

B~'A. Active element.B. Accompanying element.

First, in order to acquire a perfect legato in the riding movement of one finger over another, practisethe following exercises :Nt. b ~, J iA J J J , o o @ ' E ! " rWtdr fit{ , U r r o t ! r l r r t f I rn @l;oGJ 1ll 4A . 3 " 3 " 3 " I " S " 3" 3 etc. 3 " 3 " 3 " 3 " 3 " '" 3 etc.D." 3 "I" 3" 3" 3" 3 i etc. '3 "3 4 34 3 ,,3 -\ 1 " etc.C." 5 46 " 5 " 5 , 5 .. 5 'etc. , 5 , i , 6 , i "i -\S ~ etc.D. 5 " 6 " 5 " 6 - " 5 " 5 -\ 6 etc: 6 " 6 -\ 5 " 6 " 5 -\ 5' S etc.that will be played first with a slight accent on the first note of every triplet (but with the finger only - thehand having no part in it), next quite evenly without accent.

Repeat 4 times each of the above fingerings p and in a slow tempo. The crossing of a lower finger either.. over" or " under" an upper one (3rd-4th, or 4th-5th) should be prepared according to the principle of anabsolute legato; consequently, avoid any exaggerated raising of the fingers, or contraction or stiffness ofthe wrist, and be careful that the fingers not playing should remain completely relaxed.

Further, practise in the same manner, with a fingering of three, thus :i \ o jJ~J.jJ.J J It!r t F E r~~EttrU ' : c r t g t ~ r I c r r "au J w ! t J 3 d lJ]A . 3 " 5 3 , 5 3 " 5 3 " 5 3 ete. 3 5 " 3 5 " 3 5 "-3 5" 3 etc.B. -\ 5 3 -\ 5 3 " 5 3 "5 3 " etc, " 3 5 " 3 5 " 3 5 -\ 3 5 -\ etc.C . 5 3 " 6 3 " 5 3 " 5 3" 5 etc. 5 " 3 5 " 3 5 " S 5 "3 5 etc.

with rhythm in groups of 4, then without marking the rhythm, twice both formulae.When the student has become quite conversant with these exercises a-nd can play the different fingerings

chromatically with ease - without unevenness, and observing perfect steadiness of the hand, his fingers rathergliding over the keys than actually striking them - he will start practising the upper part of the Study andits particular fingering.To set down this fingering, we have considered which position of the fingers most favours the independenceof the muscles when striking the chords, i.e. in most cases the position will be_: : f l H i l a d J i J , . ! i n w a c l"0by which we obtain a greater evenness of playing. In the case, however, when individual structure of thehand will not allow this formula to be adopted exclusively, modifications in some detail or other may beintroduced by the performer provided these tuoditicatious shall be strictly set down and not left to chancefingerings.

First, practise the upper part alone, without chords, according to the following rhythms with the fingeringadopted.

~N 3. ~ etc. N4-. ~:> etc, N5. etc, N6. :> etc.\ ? 5 t ftlBErt"', IIi',}-\Jjrlrd f i f ft- Cr rFtiS B i E r F " 'I3


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15 .Repeat 5 times each figure of four bars with each of the above rhythmic formulae, accenting with the

finger only - the hand remaining perfectly still.Then, practise the whole upper part of the Study as it is written (without chords or accents). gradually

quickening the tempo, in such a way as to impart to the performance the gliding and vaporous characterwhich must remain unaltered when the chords are added later. This preparatory work being perfected andthe strength and evenness of the 3rd, 4th and 5th finger definitely acquired, then - .and then only - practisethe chords.

Great care should be taken in always considering the two notes played by the thumb and forefinger asa " pizzicato " accompaniment harmonizing with the light tone of the bass, and not as a mainstay for theupper fingers. They really should be written:, w ~ f f i j { # J etcand they should be plucked rather than struck.

First, practise in this way :N~7.

tYiP'I,q~f~" , q' letc.with very quick motion of the fingers alone, the hand remaining motionless. Then:N8. ~. 4, ~ t q'f!' ", ' if" Ietc.Then, once more by figures of four bars, slowly, the upper part very evenly, the chords terse and precise:

i9~_i"7Pt~~,,~.Ch figureAnd, in order to secure entire steadiness of the hand and the exclusive action the fingers :iI,J jr,j jf jJ.';,~:~~,~Chigurethe upper finger staccato very pronounced, the chords played almost as if gliding from one to the other (thisexercise to be practised I in a moderate tempo).

Further, the following exercises: iir~i f iFi w . ; ~ ' t "which should be practised likewise by figures of four bars and repeated 5 times slowly mj.After which, the Study should be played throughout, 3 times in succession with the addition of the bass

first slowly, then quicker, finally in the proper tempo - and, needless to say, piano throughout, observinghowever the slight" crescendi>" and " decrescendi " which impart to this Study its aerial character.

The following is an excellent preparatory exercise for legato playing of octaves in general; it may beapplied to both hands using for the upper part of the right hand, the fingerings adopted for the present Study.

s 3 ~ S


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16 STUDY N 2(Op. 10)

p

IIlkj"J 10]~ Ii Ii I " Ii ' " s a I) I Ii Ii " 5 4I IJ I , I. . ~ " t ~ ~ tt~ Ii~i i- . . .- -.

_.. ' . r r~" *p cresco

~ 8i.il6

s " I> - _" I; 4 " 6 " 8 6 a 6 4 5 I Iik1iJJj.lk ~.~ I o 6 b " 6 8 6 " Ii 8 I>~..JJJ~ u - J . . J J" L r 1 4 . . J II _ l_ I I I4 i J ~ ~ ~ W ~ ~l ~! db".~ ft r-. . . . . .~. *). On a full-tone piano it will prove to advantage to use the IIuna eorda :Ipedal; with very light and moderate usc oe sustaining pedal.


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17

8 I) 8 I) 8 " I) " 3 I) 8 I) 8 5 8 5 " 3'I ~ ~khdI o J I J I Tg R ; Ii~- . .~ ~i ~ .- -. .. * . , r

8 " r. 8 8 ; .4 3 '6 4 3 . ._ : : I) " Il~ J q : JJ~ I) 3 " I) " l) 8 " . 5 8 I; " 3 I; - 4" 5 " 8JIiJ . . J ttl~itJ ~ . f t . . J , . " J Ii] 1 0 j L . t t . J k J Ii]\ r I I . . J II T1 r ~ ~ , . . ~ ~ . . .0'/'880. I i . .b i 1 \ ~i 1 \ Ii

-~ ~ I I ! ~

J; " 8 I) 8 " I) " 8 4 J; 4 3 " !l S ~ " :; 34- 4 ....,'~3S I. J t t . J h];j I.j 11T~!>" 1 0 II r 1 1 . 1 . I "1 I I I IT g ~ . ., ~d' ~ ~ ~t 1111 .,,~ :>

"fI ~ -. ~' l e b . * ~. * .~. *


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i8

~. * ~. * * *

* 'fro. 4'fro.2

1 '2>-

'fro. * 'fro. *

~. ~.4 1):-1 1 " 58 5~ S545.!..!~ 3 5 f t " I - J ~.J ~1_~k~ .J J ~ I J .. - : J ~ J ~ I . . J J J h . . J3 5 s s " ~ l", It~ ~ . . lilt ~ Y I ? ~ r;~=\..

1 1 q : . " " , " .~ e:-

4 5 8 ,;

(A)'fri).). We recommend a rapid vibratory pressure of the sustaining pedal on this held note, as well as for the last 3 barsf the Study.


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t9

4 4 5


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STUDY N 3(Op. 10)

The student should concentrate on: Improving both the polyphonic (individual tone-value of the fingers)nd legato playing - Expressive merging of the rubato tempo with the musical phrasing - Development ofxtension - Melodic use of the pedal.

Dil/iculties to overcome: Intense expressiveness imparted by the weaker fingers and the particularosition of the hand arising therefrom. Legato by portamento (finger-substitution). Firmness of attack intriking the double notes when these are widely spaced.

The preparatory work will consist in appreciating correctly the two distinct muscular areas of the hand,ach one responsible for a different intensity of tone. This exercise is somewhat similar to that recommendedor Study N 2 (Op, 10). However, in the latter piece, the said exercise was set down in order to solve aechnieal problem pertaining to one special composition. We meet here in this Study in E major with a dificultyf more general import. A judicious and rational study of it will further help to interpret with betternderstanding most of the expressive works of Beethoven, Chopin, Schumann, Cesar Franck, and abovell those of J.S. Bach.

A definite rule must be followed without fail while practising this polyphonic technique : i.e. the weightf the hand should lean towards the fingers which play the predominant musical part, and the muscles ofhe fingers playing an accessory part should be relaxed and remain limp.

Before commencing to practise the Study itself, improve the independence of each finger by the followingxercises :

Nut. s "~ 2 2tte I!~hu~:~fNPr~MMP;~~E'''-= t r t t tete.N C ) 5 5-. S' 4 t ~ 2 ete, ~2 ! " dO ~ ~ " , t J i P t j - r p ' J P I ~J " P M r a f J l f ' l ! . etc,~ = z 2 2 ~ete.NII3s. S 3 .. 3 :tete. .

a ; d ' r : : ; " , ! r e : r tM i l ! t f ! ~ W 're r t & f etc,S 2 I ,,5 s I S ete, -

N 4. " ' " ' " ' ~ " ' etc.4 t h ' i . : ; " , !!r - t r1 1 @ ~ r 4 ! rt (tf!) t ete,"' l 2 I 2 I - 5 " etc.N 5 . s 5 5 5 5 ere. If th , : S :> :> :> :>ath'On;e, g!rf~.I t . !M ! fm u ~ r ' ' ' -

3 I 2 I 2 I 3" l t.the above exercises, the quavers shall always be played I and legato - intensity of tone imparted by pressurend not by attack. The semiquavers p alternately legato and staccato.

It will be observed, while practising the above formulae that legato of notes played in succession by theme finger can only be achieved by the portamento device, and that consequently this legato is really anlusion produced on the ear; however, by playing in this manner, a sensation of perfect legato will be obtainedrovided each lowering of the key should bring forth an identical quality of tone. This principle will be theroundwork for interpreting such a number of expressive passages elsewhere that we insist upon the studentot giving up t.he practise of the above-mentioned formulae - or that of others which he may have set down


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i thimself - before he feels perfectly confident that he can physically control with precision the transmissionof the weight of his hand (or even of his forearm) to either of his fingers, while the other part of his handremains completely free and relaxed.

To complete this preparatory work, practise the following exercises in order to master the passing ofthe weight -of one finger to another :

NS.> J i" !i. i. ~ ~~~ [ i. i, k U b r C r r f r c E f l r i C l \ i t t L r C F r f r F E jE t _ , tte.N 1. t 2 3 " 5.. 5, 5 " 5 I , ~ s "1..' f O n . p Jjp JDJdUJ i i lP=r ete,

> :> :> :> ~:> :> :>N 8. a t ' J 2J~ 2 I 2 I 3 ~ t " 2 I 2 I I .I 5 " I'}aj] .pMjglJ 9~jf3M , f l i 4 . JiW ete,:>:> ;;;- :>:>

Then, begin practising the first twenty bars of the Study to which - as well as to the last sixteen barsof same - this way of playing particularly applies :

NR Isonorous, expressive and per/eelly legato~I. !:. , " 5 5 "

i 4 t .._il . . m.D.'L ...._ A, .....PP . . . . . . i t _ . _ " . .. . _.iL ........................... '" ... - . . . .................. . . . .etc.ete.

l t e .1212 1l!1~ 1212 lilt

Strength of the 3rd, 4th, and 5th fingers is obtained not by articulating, but by pressure. The thumband 2nd finger should on the contrary, just touch the keys, not however without great precision. The 16thbar, for which musical design this exercise is not suitable, shall be played thus:

Repeat these twenty bars, 5 times in succession slowly and listening intently to the tone produced.In case this exercise should not suffice to give the fingers the required independence, practise as follows:

N fO .5 " 3 '" 5 3!.ff f;~ .. \ 5" 3 .. 5'~ = i= ~ a i 1 1 1I 1 1 1 r ~r; ]1j tc.:;.;: 'U Io:;i 'U 10. ~p~'I~~~We set down hereafter a few formulae for the following thirty bars :( ~ D f U k I " i i - ; i - 1 i ~ ; t J - l i ~ ~ t t r c .221t22'lthe legato being obtained after each sixth by a flexible wrist movement, which, at the same time, by weighingmore or less on the key will control more or less intensity of tone.(B)'~~illi~;"'.the thirds to be struck with a direct and simultaneous attack, and the articulation precise.(C) First, make sure of the firm position of the hand:, . ~~. i , i ' 1 ! : f t II : 1 : ~ . n t i : : ~ k : ~ W I Y


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22

10 limes alsoI t l r . quicker each lime.lifting .the hand and forearm after each attack more than twenty cm. above the keyhoard, and strikingvery directly.(D) First of all, practise the right hand without the thl~mb : 1;

- : ) i r k~ 3 ~ bl~ 'E I f ~f L U ! : ~perfectly legato, slightly pushing the hand up the keyboard, and keeping very close to the keys.

Same work for the left hand :

Strike with hand well raised, practising slowly and I as in example C i same formulae for the left hand.Then, practise the passage as it is written, raising the hand high between each group.(G) In spite of an apparent return to calm which prevails from here on until the initial theme is introducedagain, the interpretation of these eight bars should nevertheless retain something of a prolonged quiveringlike that of some exalted mood subsiding only by degrees.

The rubato tempo maintained thoughout the Study must moreover never be either fitfully marked orexaggerated in any way. Indeed it should follow faithfully the natural quickening or slowing of declamationwhich sometimes lingers through emotion, and at other times is sped on by eagerness.

As to the pedal, like in most compositions of similar nature, it should be used almost exclusively forbringing out the melodic line.

Consequently, avoid using it in an elementary manner, extending it over whole harmonic groups; itshould, on the contrary, be changed frequently, and the intervals necessary to lift it between beats shouldbe as short as possible.

Only by using the pedal frequently and deftly will the performer be able to obtain that clarity of tonewhich is required to give the melodic line full opportunity for limpid play against a shrouded background.

It will be observed that for the first bars of this Study - as well as for Study N0 6 (Op. 10) - the use ofthe una corda pedal added to that of the sustaining pedal will give more expressive colouring to the tone,as it will help towards imparting more accent to the melodic line, while not impairing the character of inten-sity which is the general shade of the composition.

ALFRED CORTOT


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STUDY N 3(Op. 10)

Lento ma non boppo ()'l = too)legato~ ~.

oonforza--= - - r; _ R . _ _ a . _ _lIentI) I) ,J ~ r; 8 te .f\ 1 0 6 . ft. ~ Ii [; I') ~ 11.; , t J . J) --------.J ~ I r . , .. . ., . . ' . : . 1 >- - - - - -~ ~ r r r rl Irr,rrtrt 3oreso.e ritelUJto o: sempre legato t t 2' " : : : - - >- ~Tempo- .2 dim; 1 . 1 I . . J 1 . 1 J~. I r I' I r I r 1 _ r _ l.r?mJl(~ ' " , .. . .- -: : :: : : ::1 11 ' i . :H ~5-- 3 4 5 4~ ~I 54 2 2 f } " ' " & .... '- -t1 ~- -.I 'r r 1 : ! . . J 2 . . . . r 1 ! . J 2 . . . . . r(A) d I -11 o ce ",. . . ~-ra ~. ",. ~ _ , . . . . - -. . : : : : : : : = - - - -,. . . . - . .. : : : : ~ r r - r : . .. . . .. . ~ r r _ ' - = - P I ,~~.*C l : i j i i l l l ' "

Poco pin arumdo

* ~. '.fw.*


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Use the pedal on every semiquaver.


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15

poco .all.

- - r


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6STUDY N 4

(Op. 10)

The student should concentrate on : Evenness of finger-touch in both hands - Velocity - Brio.Dijjiculiies to ooercome : Regularity and briskness of attack, the position of the hand being alternately

ith, fingers close together or widespread. Perfect balance of tone in passing from one position to the other.se of thumb on the black keys. Legato in a quick tempo.The exercises preparatory to this work will be devoted to melodic figures lOin conjunct motion; 20 in

sjunct motion.Practise first in semi tones :

N0I 4 l 5 4 l 2 5 -\ l 2 5 " l 2 5 4 lh . ~4 5 2 l4 5 2 l 4 :) 2 l " 5. 2:> Ii l 2~ 4 3 2 t -\~3 !! al 4 3.2 114.:; 2 .Tf / ~L4 2:; -\ 12 31,4 I 2 ?!yl 2 3(!t~. frrretz i=&fCt t t ' f ~ .E ' 1 C r r~-:r.rrr C d C F'~r F Ic : 1---~~!:!:o-~ ~~~; ~ ~

2312341 . kLh . 2 I 4 3 2 I 4 3 Ii 2 3 4 5 2 III every ey.3254325Practise hands separately with folJowing rhythms :Further, with equal values, alternately legato and in finger-staccato; / and p, avoiding all motion of

e hand. The thumb should not droop under the hand, it should act in the same way as the other fingers.The following exercise will prove profitable both as a transition from conjunct to disjunct motion, and

lso to obtain regularity of touch for the 3rd and 4th fingers.03 ~ 5N . ~ > ~ > ! >.h, , c : E r (f F f ! i E - r 1 0 E 0 l r [1r r r L 2 rtr. 23434.1".2.1"34.14

~ 2~rr~~'.p >I .h.?? F r o E 1 ~tNj~Ecrrg t f~ .ft:> 5: :0. J

By practising the following exercises, the student will get familiar with widely-spread figures, and ate same time with the particular fingering allowing of their neat execution.!tn. :>trn.

etc, ,323,32. ,32313., et.i.a3 5 . " . , _2 s a s 4 5 25Lh . (2 octaves lower). 2 2 .

Further, for the hand to achieve the ability to pass with rapidity and ease from the closed position toe widespread position : 4 ~ 4 ~ 4 ~ 4 ~ 4 ~ 4 ~" ~ Ii ~N5.! i. .> I 3 I 3, ~ Ii ,~ 1 ~ Ih ~I ~~. J 2 t:. 2 . f ! : . etc. ~ ~ ~ ~tf".s: l jL 'U?t fU:11: l,dijJQ4qkil#M INext, begin practising the Study by fragments of three or four bars, repeating 8 or 10 times rather /,

ith different rhythms. (See Exc. No 2)) The following is an excellent preparatory exercise for bar 2 :

Make the accent l# ~ mWtl;JJJlllll;2l.! 32~.13 jII 3I'ti:. fiI qwith the finger only. , a # B6+5E+g :tftL ttts t& frC rrC fC rr re rrC ritt" ._ H~

>5 :>

@ Ba, 3 ,,. t E l Ht!fh [ [ . b f ; J r f rttc,


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These two formulae to be applied also to similar left hand passages.#~ . 4 ~ 3 24 234 2 32 -\ 2 3 ~

Bar G I.h.m i : : r f ! r lf rCrrrr(r[rrri r r r r r r ' l r t c .For bars 25 and 26. see Study N0 2 (Op. 10). 42 &2 U JA. -\ -\ -\

Bars 33, 34. 37 and 38(Lo make sure of repeals)


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STUDY N 4(Op. 10)

Presto ( J = 88)~3 2 5

~n3 ,,~ ~ 6 I~~ ~ + t .IJ~ 4 2 3 4 1 .1 !"..: 1!2 18 2t 1 2I fJC07tfuOCO cresco > > >

Ll 1 ~ l < D ..it. 43 ~ . . . . . 2 - ! ' ~ " 6

orese.

1 28 " ~ *6 t" i2 t 2 1 2 1 2 1- - - -fro. ~. *


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.19

~2t ~ . ...-: :-~~,. 7s ""T ~. 'f :~l L . . . . . 8"2 182 3~~ 6~4 - = = - - - - .~~ IJ .':' ~P t I".. . Ii j rf---" - , . . '8 ' 4, 4, . .) tSI) 2S5 *

I)~. I)~. 2 8 t~* ' r e O .> > >

8 t 2tSt2t8t2~ * ' l 'm.*~.*8 > > > >2~*~.*~*'fw.** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ,. . . . . . . . . . . . . . . . . . . . . . . . . ,.. .'1" ~......... >- ~.----.....- i- ~. ~~ ~>""'--:;-5 =tS_~.

4 ~ . cresco ~ lJ rtf " . . . . . . _ _ .ft . = = f G .~~ . ~l 1 . 1 . ~ . .- -.ll~ s . 4" s. 4, .. >- >- >- >- >- 8'" r -~ >-~ =


26/83

30

:> :> :> :> :> :>

cresco

~. c;,t). ~. -=

.2 8)84t284t2(.2 t

r, 3~. ~. *

~~ . . . t t t -!.. t t t -!.. t t - = = .!' . , . JI tr ~ . . ", f" O J ' I J1 tr Tl crescou ~... I~H. 2 .... ~

~ o J

t t

fi~. * fo~. *


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fzp cresco

i 2 It, 5


28/83

'31

~.>-

A S J]' con piufuoco po!;silJile

.2 t 6 2

~ .~ simile

1':'\~

Jj

f r ~~

8 ~. ~~. :)' fw. ~ *


29/83

3STUDY N 5

(Op. 10)

The student should concentrate on: Ease, clurity and Iluent ad ion on till' hhu-k keys. Brillianl 0(11111 dl'lil"all'legato -- so-called" jcu perle".Particular dillicultie:;: Suppleness while shifting the hand in order 10 fucilitnte even action of L11l'tingl'rs

in disjunct positions. Even quality of tone wherever weaker and stronger lingers play in succession. Passingthe thumb under on black keys.

First of all, make sure that both hands han' perfect control of till' successions on the black keys, IlYpractising the following exercises :

Iii," rollowin:,! po;:il il ll l"

hereafter J

M~~-L~~~."J=iI=.P:t'tr.fh ~~ ---_--~:_.-= lPay great attention to the passing under of the thumb and keep in mind that every attack of the thumb

should be prepared carefully (See Study 1 " \ 0 X Op. HI).


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Next, practise the double-note positions thus ::\~53" '\453"1231~ 12312-~'-" 3 " 3 3 -\ 3 4 3I 2 I ~ I dC,1 2 1

etc.

5Exercises No 6 - 7 - 8 must be played legato (for the principles concerning double-note legato see Studies

N 6 - 8 and 10Op. 25); next, they should be played in broken chords, beginning alternately with the uppernote, then with the lower, and in every position legato and finger staccato; avoid any unevenness due topassing under of the thumb. Use fingerings mentioned above.N6 b~'i and etc.N07bis and etc.Nl)8b~s and etc.~ ! l " ' J etc'J~ - etc. ~ F1 etc. 1 m Likewi , hEx.y4 ~1JJ jJ p rI JJ JJ ;J JJ .r I JJ J~ J .I Jg~JF1Jip!I~JJ~ I r~y~; : :~; \hre

This manner of practising will prove the most profitable of all those we recommend to achieve a perfectexecution of this Study, but full results will be derived from it only on condition that the foregoing formulaehave been definitely mastered.

The preparatory practice should be completed by playing scales in octaves on the }>1ack keys,alternately staccato - using only the thumb and the 5th finger (for both hands) -; and then, legato withthe following fingerings til ',1 g : ; ~ , . ~ ~ t' > W . ~ . ; f l "UE1U;H~t iUEJ i~3

1 . 1 . . I I - .. I" .. S 4 I543 5 453. 5 5. 5 3 1 1 !; Likewi . h k4 I I 'I ewise III ro en octaves.~~~~~I~~~~~~~e~tcl~i~~~e~fCI~~~~~e~t~and~

Lh . I I I:; 4 3To practise the Study itself, play the figure of the right hand by fragments of four bars and repeat withhe following rhythms :

:>:>:> '>:>:> /3'-~ --:r---~:> :> :>tlUUI~~~IW~IW-W-I~Wl~1


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35

In this Study, the bass should be practised separately and great care should be taken to attack distinctlyand precisely.

Exercices for the first bar:. u. ten. lJ' _ t o ' nJiJli141J tBaN 57 a~ ~. ~t~r.~nd: . . r l i . m ete:"" ., Rm :)tiW )~IT ! 1 W i P w ijtJ:ijj!Jlf .~ 3 ~ 3

One of the most important points to be considered in this Study is the particular technical element ofvirtuosity, named" jeu perle" which indeed evokes a string of pearls being unthreaded one by one, i.e, notesplayed in succession with a perfect even tone. From the point of view of interpretation, to overlook thisitem would be as serious a fault as to play false notes or to shade incorrectly.

It is therefore imperious not to concentrate exclusively on pure velocity, but to confer to the latterharmony and grace, as if it were gifted with wings; thus it will become a musical factor and impart to thiscomposition its real poetical character.

Carefully avoid all exaggerated raising of the fingers; the fingers, on the contrary, must keep close tothe keys, almost in the position. adopted for held notes. The wrist very flexible allowing the hand to shifteasily. The right hand will, needless to say, !;e practised separately until the Study is learnt throughout.

ExceUent technical improvement will be uerived from transposing the Study into G major (samefingerings as for G flat).


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STUDY N 5(Op. 10)

If'gala flt'11IP1'f1!S Ii. . . . . .

&,~. * * ' . fu. '* ~.

- ----:1-~_- --OJ

~. '* 'tw. 3* ~. U.:::5 5I> &

::>

p

~. * ' ; fw. *

* * ~. *


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~7

* ~. *

t

*

* ~. * ~. * *

tell


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38

* 6

~. ~. com~ primoI; 8 i r j sI) 5 " S

5

~. -:;,..---- >- * ,~.(*) The use of the pedal marked here on each beat is necessary to obtain a light and nuid tone. Itshould be lifted andpressed down again practically without intervals.


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39

poco ran. delicato S'11tOf'Z.

~21:>

J~. * * ,~. *I) 4

~. * ~. * ~. * *s=-==- 5~~. *

*


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STUDY N 6(Op. Ill)

The student should concentrate on : Perfecting polyphonic playiug- Expressive intensity of tone - Legato.Particular dil/icullirs : Individual tone for each of the simultaneous melodic Iincs > - Extension.The feverish and concentrated character of this Study (too often played .. Adagio", in spite of Chopin

having marked it .. Andante .. without further metronomic specification) docs not admit of playing the figurein scmiquavers either in a flavourless shade of .. piano ,. or a colourless legato which would reduce this figureto heing only an accompaniment,

Below the passionate lament of the upper voice in the right hand, we must hear a vital lower part unitingwith it yet not covering it, sustaining and strengthening the expressive character of the first while preservingits own timbre and its own freedom of rhythm.

Apart from a few wide stretches, the only real difficulties of this Study are balance and the independenceof the double melodic line just mentioned - they will be achieved by attacking the notes differently accordingto the part concerned.

In the upp


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Further:'~'Only when the right hand has hecome quite familiar with the correct positions both of hand and of fingers

hy means of the above arpeggio formulae, should the student start upon the following exercises :5 5.s, ~ & u i ? P . : u - - t u o u t i J . d " " ~ : - = : : , . . . . . . . ' = f " , " . " " "! t 1

Further, practise this passage with the values in the text, carefully keeping in mind thaL the semiquaverfigure should be carried over from one hand to the other, without there being any audible break of the particu-lar tone pertaining to it.ltwill be necessary, before making frequenL use of the pedal- such as we recommended for Study N 3Op. 10 - to be able to give a perfect impression of legato by the fingers alone. When the student has masteredthis, he will add the pedal in the way set down below which, although isolating the melody and lengtheningits vibration, allows the secondary melodic design to emerge, distinct and expressive as required.

At - - - - - - - - - -, r-~

ete,I. J .r . ~J ~ .. J I . J . . L J . . L J /' fW . f ro . ' t W . ~ .~ . ~ . ' fc() . -J i.).~ .'fW .~ . ~ . ~ .

Flexibility of the foot will be improved by increasing very gradually the swiftness of the motion; whenperforming, this use of the pedal will be no more than a regular beat, a kind of uninterrupted quivering.

The fingering of the first half of the seventh bar .offers a particular wide-stretch difficulty and- as it isrepeated several times in this composition- we advise preparing its execution hy the following exercises :

!?!!h 2 3 " 3 2 3\ 3 2 3 "3 ~~ ~3 2 3 2 3 l! 3 2 3 2 3 l! ~i l! l! 2 2 2 l! 2 2 2 l! 2 2r.h. ~-C r r r r e r r r r c r t l r r r r E r E-PffJf f j l= ~ r r E r E r E F r E r r 4ALFRED COR';'OT


38/83

'ISTUDY N 6

(Op. 10)

(SlDjn.)

6 5 5_~ 4

4, 5 t ~21 - - : - n 5-~ 2 !> $~ - - . . . . _\ I 1 . . " : r r :t.: q~ ' J, - - - - - - - - - - . . .. . . . l~r' r~ = = 1 . ;rrl 21 2 1 2~ 2 32 t 21 2 t 2 t 2121213 21 J I J 1 1 1 J I J - J. I J I . 1 J.I f.J -.I , 1 . 1 J ~. 1 J 1 J I 1 J ~ 11 Ij I . . .. ! !8111 8 18gotis.


39/83

r.~ L. , . . - - - - - - . . . . . _- - . . . r S Ii 5 '0 . i. - 101" .V" ~~ 0 'I~resco 0 1 2 1 2 1 2 1 2 1 1 2 1 2 ~- - 3 - - : - - - .J 4-"J J .J I.J J J 4- .J I) 1 S 2 1. III I Il I. . . pesante ... "qy -'--" ~ 0ro 1-' 1 l' j' T ~io 15 " u. :>

"

= = - 5_ 4 oa~1 1 , 5 5. 5 I -----....._ J iH 5, . . It ' c . . I~ r r r q ."~~r I~t "! "I'i~ ;1 r r r [1r t1 S .2 S i12 ~ 1 2 1 2 1 2 4 cresco fp 23 .2 4 ~- r,34t.25 2 2cresco i-L - I L o J IJ .1 legatoI , . .. .~~o ' s .1 " r . K'!_ , . , - - - :; j :> >- t_a-----

5 5 - - .5:-- t,==-~ i , -;~~I- ~ I ---....."I- i f :~~. .. ..4 U!fT ill r U , . _ 1 ' 1 :~l i . . .~I 1 i r . . J . ] I r L..1 J 1 1 _ I I I2 3 ~ 23t;-- 23 2:i2iiiii1 t 8 2: 321 ~ _132321 2 1, 21 2 12 t 2: t 21.2232 f-creso. atretto e cresco I i\. I.. 0 . . .. . . ~. ~ . j!I. ' .. 1 1 " - ' .,~~."


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poco54

------!@a Tempo- ______ 5__----2

5 -,--


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STUDY N 7(0. lO)

The s tudent ...hould concentrate on : Development of wide-spaced stretches. Qui("k motion :11)(1agility oflhe fingers. Lightness of the hand.Particular dil/icullie ...: Precision in the simultaneous attack of double notes ; combined suppleness nndswiftness of the extension movements of the fingers; perfect connection of the different positions.

First of all, practise the fundamental technique of this Study hy means of the following exercises:

for the following formula likewise

Next, in order to prepare tne repeated notes played hy the thumb and forefinger and to acquireflexibility of the wrist which will later facilitate the connection of lhe positions:i 2 ' m m m ~ m - w E u pt~"'. ~h~m' ;~~!"~ '

2 I ~ I l! til! 1 ~ 1 l! I l! l! I ric. l! , l! I l! I l! -

,\rtw which, employ the following formulae whose uhjer-t it is to improve the independence and speedIl l ' Ih(' lingers. or improve the extension and case of action in passing from one position to another:


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N07 3 -- 5 3 5:1 5 ~

. ~ . r r r r f r r r l r ~ r ~ r ~ r !j j r ! j r l h r "I 2 t 2 t 2 I t 2 I :I I 2 1 simile _The following variant will prove most effective to obtain regularity of the fingers and legato:N08 ~5 :I~~ ~" f iHjJ J p e r r c r r ~ i i l 3 J J H F E ~ E r r r ~ n 3 n i h e r r c r t ' I ' .

2 1 2 I 2 I 2 I 2 I 2 I ~tcThe last passage in semiquavers should be first of all practised thus:

A.!}!

2 I 5 1 U (Uc r F f IHr '5 (4th and ;.Ith finger should play with equul~ 5 ~ 5 ~ ~ ~ strength). .:I. 5 ~ - 1 2 ' ~t

.tf, iS iItU Eo , I , . I f : : : i ~ } , i . n d vigorous attack : wrist and forearm.,:The fluid quality and lightness required to interpret this Study will be achieved by reducing to a minimum

the motion of the fingers which must not lose touch with the keys, so to speak-though they must remain curved.The wrist should be very flexible, held slightly lower than the hand. The upper voice a trifle more colouredthan the thumb and forefinger. The melodic part played unobtrusively - yet perceptibly - by the left handshould be carefully delineated.

Transpose the Study into C slarp major, with the same fingerings.

ALFRED CORTOT


43/83

"STUDY N 7

(Op. 10)

Vivace (J .:84)~ll53585 545212121lll)8 t, 1 2 1 2 1 2 ! 2! I) ..

I 4 - ''t..~..I' t..r-i' .. I r L~ P - = = = : : : : : : : - - = . :::=- t - - " " ". ?~t 2~ti~. ., . . . . . . ~1 , , _ .> 1 J:... ~ * . ~' ~ - 4C f w . *

4 I) 3 I) II2 1 2 3 1 2 4~ II4 . . " '1"1- -,. I I' t 'I.~.. - It .."-I.. II se'mp1'e legato = : : : : : : - -= : : : : = - -

~ 1.------.. , L~- l>- ~..,..,1 . . . 1 .5 4 r ~' . . . . . . . . . . .~. * ~. *

'I A 4 " ...Jj I) "A!~_' ~t ~.. _!- 3 ~~~ , , _ .1 b . . ~ ; ' ~. _4 r I L ---===. =resco- - - .-.... S J__. .'~ I TT I r - ;. . . . . _ . , '!' >---- fl .>- - 2

8

~. * * ~. *Iit

"'joo. * * ~ . *

2S


44/83

~. * . .. .. .. ... .. ... .. ... .. . ~1 2 ~ . * ". * "

* " ~ . * * " ~. * " ~. * " ' . f r o . * "

~. * ' . t o . * " ' f e o . * 'i'w. * " ~. * "~ S 4 5 15 :~!~ ~ ~ f I # " I I - r 1 L l 3 _ Q ~1 t 3 4 3 -

.~ftt!!. ---. b ~ ~ ~i. /'".. c . . . . II!!!I:iiiiiI - - - . : : : : : : : . ~' ~ " f ! ' ~ 4 .fi R ~= - = - - = = 5

~ . * " * ' : f r o . * * "4 S3 3 1 1 f j t ~ l ~ ~ ~ J ~ ~ ~ ~. -J ~ I'" I " ! I I.~J i~~jreso,- ~ ~ ~ . - - - - - - - - - - - - - - - ~ ~ ~ . - - - - - - - - - - - - - - ~ - ~ ~ - - - - - - - - -~ . - - . . p - . . : . - ~ -c.__ ------

:>

If the sustaining pedal is used for the three following bars, be careful to lower it very slightly and to lift it


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~;, 5

'I ~ ~ . . ~ 3 1 3 t -::': 3 2.-.2 - -_ .= = = -

~~. ~~~~ ~ .~ ~ 1--i- ~'.- _ ~ .~. * ~. * *~ ~6~~ r r " / , 212121212 3 33 I; 3~ 2 1

4 , . - .. H I I', T' -II t 1'-i ... I = = - = = = =-2-~ 3 j~ ~ ! ~ 12 ~t _____ , ~ = : ? 1 ~1 _ . _ .. . r j.Jg~. * ~. * ~. *" " . . "

4 t 'I'-ij .. r I 1 , _ - . , - - -I= ==- -L~ 2~ ~~ ~ l i t , . . ~>!J t lI~tr-i ... llI'oj ... r= =- - = -- crese. br: #i~ I t . - , . .> 1 " L~-- 1--..,,3

~' ~ ~' ~ -

3 IS

.' fw. * .~. * ' fw. * ' . f r o . * ~. > iR - .~ t,>~ >~ ,.. ~ ~2~2~ 21 3t31f' \ fI'" .~ " ' I i #-~. ~ . . ~ . . . . ~ . . ~ . . ~ ... ~ .. ~~! ~R. 2 ~

4 f- , . .~i: >_ I I . -.: --

~~ ~ . . . . . . " . . . ? ": " 3 ' " ' rI

3 ~ 3 ~ ,,5 5

~. * ' fw. * ' 1 ' 0 , ) . *


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50

* ~ . * F__ ~ -----'fro. * 'fro. ~"- ~,-----~y-------5---------5-----------~/' - ~ 'i. 4 ~b 5 . ; 1 t 4 5f} _~.. ~1_~.. ~. ::--.... !~I_~ ~ _! I.,! ~l3 ~ '.4! 4",,5 4L . t 4 2 t 3 5' o J 'L I- (~ b.~ 1 t ~ ~ b~L~ ~~ fL J l~ L ~} 2 1 - 3.. - :" 4 r . . . 5 fI ~- - - - - - - 4 4 3 5 4 5 4'fro. * 5* 'fro. * 'fro. * 'fro. *

' f e D . * 'fro. * 'fro. * "

' * ~ .


47/83

5tSTUDY N 8(Op. 10)

The student should concentrate on: Regularity of finger-attack. Lightness and evenness in the passingunder of thumb.

Particular difficulties: The exercises that we recommend as preJiminary to this Study refer t.o one ofthe chief difficulties of pianistics, namely: the passing under of the thumb. Indeed, to master the latter mayperhaps be considered as the most essential asset to achieve a fine technique, as it is so constantly in lIS{'and also of the greatest importance musically. We therefore believe it advisable to recall the elementaryprinciples of passing the thumb under the other fingers by studying it in scales and arpeggios. This particularmovement of the thumb which serves as multiplicator to the other fingers must not impair the evenness oftone in the melodic line of the phrase or run, or modify the position of the fingers in the successive hand-shiftings which result from it, or cause any slackening of speed.

We suggest as suitable the scale-notation hereunder: the upper line indicates the mute position of thefingers on the keys, the lower line the notes to be played. The student should count 4 beats on each note ofthe scale, making the preparatory movements in strict time and exactly on the beats (or fractions of beats)indicated on the" mute preparation .. stave.

The left hand to be practised in the same manner.hand-shifting shifting shifting h ift.i . .h. s I 109 shifting

Mut, ~. !~:z : : . :z~ = 1 * : ;' O : I ~ ; : : : : : ;il~:::T$tI=:==


48/83

2

Next, practise shifting"sr.h... :\ 3 2..i 2 ~5.=fs j 3 !

the hand :

etc. etc.

n every key, the hand grazing tilt' keys while progressing up 01" down till' keyboard.After which, practise with the thumb which should merely graze the keys and slip at once under thether fingers. Be careful to strike the minims simultaneously.

h l6 . ~ p >-- >- etc.Further, for the right hand practise ascending scales and for the left descending scales, ~uccessively in

very key with the rhythms and different fingerings set down hereunder. This exercise wiJ IheJp to blendhe double movement of preparation and shifting and make it perfectly even. Chromatic scales should heractised in the same manner.

(For IIII' Il'fI hand makr- IIS(' IIf t hn fingl'riJll!sl!iVf'f) opposite),

Playing downwards with the right hand, and upwards with the left, the thumb falls naturally inloosition over its proper key (sec Ex. A). Consequently, it is by passing the 3r~, 4th and 5th fingers over ilat we prepare the shifting of the hand.Practise first passing the tingers over the thumh, then shifting the hand, in the same manner as above:

u., , " 2 " 2 ~ l2 " 2 " i F ; 2 I 4 1 " 2 " 2 etc.8 . f r r r i b e T F r r r -WE ' T I(r.h. 2 -\ 2 -i 2 " 2 " 2 -i 2 -\ 2 -i 2 li 2 "u.9. , er.h. ~ :; 2 3 2 3 2 elf'.J g J J J ~


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Then, rhythmical scales, diatonic and chromatic :

wh ith th r- same Ilrurerirurs as f o r' c 'x e j '( :i s p i\" I.

5 '3

1 . 1 , .!E l f etc.

The mechanical process of the passing under of the thumb is identical ill playillg arpeggios, hut theflexion of the wrist should he slightly more emphasized than when practising scales, 011 an'ollnt of thextension of the fingers which are preparing the IIl'Xt position of t he hand.

The left hand should he studied according to the following model, hul. inversely~tutc

preparation

r hand-shill in!!-32

r"hirl ill:'::-2Jj . 3 1 ~-.~, 3 II-*- .

eJ I--'--"" _ . ~ . . . . . . . . . .._..~~ 1-'-LV .>" .- :-~ . . S . .4. r.h. IFurther, practise as explained above for scales, and

r.h. m \ J 13 2 .. 2 t:I ~ . '~~JmJe~9 ~ ~I til I 11

Then, with chords of the seventh. 4r.h, 2 3 3

16. , m 3 } m 3jtH 3 ; " P til I 11 1Next, with the following chords in every keyFurther, according to the above models in chords:

:\ 2L..---l!3r.h, !17.~ .;"/21 .1 ,. :; 3Finally, as above-mentioned for the scales, and making use of the fingerings giwn in exercise ]'\0 7, to

e applied to aJl arpeggio-figures throughout :1 8 . , ~9USt' the thumb on the black keys hoth in scales anti arpeggios throughout this work. Indeed, the old

ule has been discarded hy modern Iechniqne which pr-Iers Iingerings based on the requirements of musicalxpression rather than those which afford comparative physical cunvenicnrr-.


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4

The foregoing exercises having enabled the student to overcome the chief difficulty of this composition,there now remain to be set down a few formulae more especially suited to certain fragments of the Study.For the first thirty-six bars, we recommend the following variant :

r.h, Iplaying downwards] l ih , (playmg- upwards)By the repeated motion of the 4th, 3rd and 2nd fingers, the student will obtain equal strength of attack,

nd this exercise will also enable him, when playing in quick tempo, to avoid slurring the three conjunctotes preceding the thumb.

Bar 37 and similar :t ~ -\ t -\ & .- i t t E r r i r E r i e 5 E E i r r 1 & r F i r r ; " , .2 S 232 . 2 S

B&

When practising variant B, it will be necessary to raise the hand between each group of demisemiquaversith an easy motion in order to get accustomed to attack lightly with the thumb, and at the same time tocquire a flexible wrist-movement by which means a rapid and even execution of the passage will be obtained.

Avoid any exaggerated raising of the fingers which would mar the legato required in playing the figurehich runs from Bar 75 to Bar 88. The fingers should be well curved, not allowed to leave the keyboard soo speak, and the hand should be shifted without abruptness.

Practise the same passage, as well as the whole Study, with the following rhythms :' "3' "3'W{lg'IlW'I~We recommend transposing the Study mto t sharp major, with the same fingerings.

ALFRED CORTOT


51/83

55

STUDY N 8(Op. to)

(2 11i1L40) t. t2 1ii . ! -='!ro. " * 2 'fro." * " *

---~-! fz" * 'fro. * ' fro. * " * *" * :/'-'" ~. " * ' X w . " *

.~,.) Execute thus: +it:.;


52/83

56

erese.

* ~. * ~. 'fro. t* 2

* ~. * 'fro. * ~. * ~. *

fi* " ' fw. *'fu. * ~ .

~.* ':to.

5* ~. 4*~. ':to. ':to. *- .I ! f ~ '" I!" I U" '" Ir= :;,~, * 1 : . : . " * 'fu. * 'fu. * "tw. *


53/83

57

t~ * ~. * 'fro. *

~.'fro.

: --~_c~ ~_--- --4

'1(;). *

* ~. * ~. * * ~. 4* ' : r r o . *~. *

' fw. * '.til. * ' ~. * '.til. *

,~.*' : r r o . * :> *r - ) Here, the pedal should be used in such a way that the vibrations of .. A .. in bass may be audible for the spaceof two bars.


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58

35~. * 'fro. * 'fw. :> 3". 'fti). * 'fro. *

* ' X w .

2" * ' ' f e O .~.


55/83

59

8..2 r

t* ' 23"""'____""* ' ~ . * ' t* ' 2

6

e5* ' ~ . * '~ . * '

* ' 'fro. * ' 'fro. *

* 4*~ . *~ . * ' i 'w. *:1 t

t2

:>2';ti). *~ . * ' fw . * ' fw. ' Y w . ~. * ' l 'w. *


56/83

60

2

>-

~. * 'fu. 3 i*~. * 'sempre legatissimo pp

11:0 1 2,I;~.*~.*~. * ' fw .

>-1 1>-' 32

>- >-

*~. 'fu.

~. ~. ' r o .

:0.2,-~

* - ' X w . *


57/83

61STUDY N 9(Op. 10)

The student should concentrate on : Intensity and poetry of the musical diction. Ease and rapidity ofleft-hand execution. Development of left-hand extension.

Particular difficulties : At first sight, the technical interest afforded by this Study lies in the rapidityand legato playing for the left hand, and to the fact that this must be achieved in spite of extended positions.

Actually this difficulty is but a secondary one, more apparent than real - at any rate for a normal-sizedhand - and one which will be easily overcome by practising a few well-considered exercises.

Far more important is the problem 'pertaining to the general interpretation of the composition, i.e. toits declamation which is at times breathless, at others slow and heavy as if burdened with memories andregret and which calls for a particular quality of tone to colour it.

However, though indeed the student's attention should centre on this constant rise and fall of tempoand dynamics, they are too essentially related to individual emotion and feeling to be analysed in dry aestheticnotes above which the lyricism of music soars high leaving still farther behind scholarly advice.

We shall therefore only suggest a few exercises and principles for .. portamento " playing which arethe foundation of a perfect rendering of this Study.

First of all, practise each finger separately :

22222.L_!_! _ _ ! _ _ _ _ _ ! _ " " . . " . . .555~

curved and firm should press down

thus : - - = = = = = = =andThe fingers well

in the keyboard.Every attack should be followed by a pressure of the hand (hand and fingers as one whole), the weight

of which will enable to grade the tone-value. The respective position of fingers and hand should not be alteredwhen playing I or p - only the weight and a quicker or slower attack being used for increase and decreaseof tone.

The wrist should remain flexible so that the hand can be raised with ease above the keyboard afterplaying each note.

When practising the following exercises, we recommend counting thus : one when attacking - two whenpressing the finger strongly down - three when releasing the key and placing the finger on the next key.

The evenness of tone of the different fingers will be obtained by practising scales and arpeggios, in everykey with the following finger-combinations :

the keys thoroughly as if to imprint themselves

two lingers three lingers lour lingers live lingers12 12 ete, 123 123 etc. 1234 1ete, 12:\45 1 ete.1313 __- IS4 \34 1245 I 24135 14 14 " 145 145 1345 1 15 15 234 234 2345 2 ;,28 23 235 23524 24 245 24525 25 ----3Ji 84 345 345 "35 35 45 41)


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.G2

'fhree- / i 11 gerscale

: : ; : : ~ : " t o > tiit t it p f t i A ~4 5'2I 'The foregoing exercises should be practised in a moderate tempo, alternatelyp -r=i=r = = = = = - - p andf= = = - p . . . . . . . c : : : : = = = = = f.

Next, the left hand will be practised in the following variant :

Repeat twice with each of the rhythms, six times in all, by fragments of four bars.Bars 27 and 28 should be practised thus :

I 1 1 I2 1 2 3 2 ~3 2 t 2 I 2~15 ~ I,. 5 ~ 5 tetc. 5 ~ 1-'5 . f I I . . 5 t etc.!);~.~5IJ!I i11&e: P t f i f IIn order to obtain an expressive execution of the octaves in the right hand, let the upper note predominate .

.4.LFRED CORTOT


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63STUDY N 9

(Op. to)

(2 III_iD.)

Allegro moIto agitatu ( .: 96) 4,~,_ 2 3 3 ~ _ . _ t 3 sa ;.--, 2 t . . . : . .. . . . . ~=.

10 - :_.; -- - - ~= = = C 1 ' . ! : : " ( ' . - sotto "0('(' _ - --: II- / - j I . - L__-.,L1_ ~ /f*- ~ -: /_-_, -: s-:. ' ~,. 1 l.1li r. 1 ~ ~I . . . . L . .~ ~I .1 ~ rl _l. Ioooj ~ 1 . . . L . . . . . . . r _ t ..i-I ! ! ! ! ! ! rl L . . . . o l_. . . . . . . . - - - - - -

~ . ~ ~ 'X w . *ritard

~. ' l " w . ' . f r o . ' . f r o . ~.a Tempo

~. ' . f r o . sempre legotissilllo~ . 'fro. ~ . 'fro.~- 5'.\ii).

~I 2t 2 ~ 2 1 ~_i!- _ if t 3 ,......"._- . . . + -=-6. - - - - - - - 4 } -:._.;V - - -::-- L;--=" -: -."'" ~ jI.' - -:_.~~ ~ LtII_ ,/".


60/83

64~5 -i l~1 I _c$ t 4 3 2 3 ~~~_. 2 3 2. .~

4 fi~ - semj;;;cresc.- -.. J _l .. J I .. J r-.4 2 3 ~ 2 :) ~ . o _ ~ 2. 3 - 2 I 3 -~~2 t 3 -4 (3

(5 8

(1 ~~ 1) ~'> ~~ b 5 - - t ? ~~ ~ ......................5 !1~ r ~2 3 1) 2 I. ... . . . ~ ~ 4...-5 J.!/""fi~ b . . . . ..i. ! - - !' ~__....' I--- r...- . . . . . ~ L_~streuo e fJ1U r ~c(:l. - cres~~1 uJ ~ 2 3 2 ~8 = ' ~ t~ 4!I '~W ~' 4 I! ' ~~.~ 1!'1~ I-~-~ vr'l 1'4 3 .

2 3 5 8 8 . . . . . . . . - - _

~~.'jy/ c>8'~4 :

~~. ~.4 3 5~. 4~5~.

~I ~ ~:~ ~ ~ ~ ~ ~ !T 3- 2 ~ ~ i ~.F- .4 ~ === - r lfstrettoIf 2F- 6~ ~~ Pffr rfe"?' ~,.. .~!~ !t!~air 4 t-3 r : ~ 4 ~ : ~ '3 - . . . . . . . . . . . . . Iii"""'" -. ~. ~ . 'fw .

84~ 4 . . ~. ~...... ~~~~~' ~~~~~~ .I ~~~~~~ ~ 3. . . ~ ~ >_. .

[l faPPl 'ssionato 11P s: r ,5~4J" 6%\~ ~~ ~~, t- "t- 3~ I- 4 F 3 ~ ~ , 'F__ 3 1 0 1 . . - F 4 - r r = . 4 t- a F- 4 1 : : : +_~o -- . . . . . . . . . . . . . - - - - -X w . ' X w . ~. 'fro. 'fu. ' fw. 'fro.PO(!O rail. " Tempo _..-._ .~ 3 ' 4 2

~~I. B~-o-- 2~ 3'02 . ; . _3 2 ":'- t . . . : . . t ~r .. .-. .j-- -+t


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oonforza 4______5 5 " 4 j R . ~ ~ .Ii~ ~ ~ ~ F ; , . ~ !:, ~ . _ . . . . . . - - . ; , . . . ~ ~ ~ IIr ~ r- ;, . .. _ _ .~ 2 - - - - - - - . . . . . . . . . . . . . . . .J l . =R . I. - ~ .

, . . J ~ r : _ 1 _L . . .4 , . . , _l ~ ~, _l . . . . ",_, . . . . . , . .1 . . . . , , . . 1 . . . . r : _ 1 . . . . .- - - - - - - -. ~.b 5____ ~4~5~. qr~ e L ~~ L - - . . . . r, ~ ~ 5~ ~ r = l-. ~ IlL.t -6 - - - - - - . . . . .fz o ~4 ~':I a ~ 4 ~'3 oreso. eoreso.z- . ~ . i :"\ .1. ~ 1'1~,~~~ , ~ D ~ - - . . j R . - /'. ~.r"; ~ /. iIl.'r"; I.', ,, .. _ 1 - r : _ 1 .J.oo! ~ , . , - -" !!!I ,. ., '-I I I ! ! ! " ' . 1 - I I I ! ! ! ! ! I , . , " " ' " , . , . . . . ~, ...L II!!!I~ 5 f 5)~ 5 t 5) . . . . . . . . . . . . . . . . . - - . . . . . .~. (1 ~(t~ ..., ~. 4:;sotto voce :; ' . f r o . ten

III Jb~l~ L4~ I 2 I 3 L . III f:_ p'1" ) I , I ~' >---- 1'1', Jl! '_1~! ~ p/.:1 " - i l l . -. ~r. II . /. ,._-/: I s - . j R .- /:' ~-, . , _ . . . . , . . ~, _ - , . , ~ r : _ 1 ~ I o ! ! ! ! I r " : _ 1 - 1 " : .1 _ ~ , . _ I -I o I ! ! i , . . , . . . .- - ~ . . . . . - - - - - .-: f r o . ~. 'fro .

8~':~l MlI01Z. ... . - - - - . . . . . . ~ . . . . ~ . . :I 2 L~ , .. ~I..~ .'1~ _ H ~ 3:./4 f5~ I pp l 1 l : I : $ >--- . '1 PP~/.~ :::::=-/. ~- -: . , . /. .. /~.,,/lrl~~~, /-.., -II-~I .J..,; ~ , . . 1 J... I ! ! ! ! ! I , . . , . . . . , . . , ~ 1 " : . 1 - , . . , J...~ r . . ~, ..l- _ , .. . . . . . ~ ~ - - . . . . . - - - -fro. 1 W . ~. ~. ~. ~.8 ;............. :;~ .123&4 .Ii 3 ~ ~ ~ 5~l 2 IiL '" t . , . .Ii . . 3.4 '1~ , ' --":pp/;:-1.- ~~ i P P P 2 ~ ~ ~5~ 0, ~5'__r-_~ , . . fL l- i! _-. -R.,.-!-~ - ' ~ r " . '

I."""j ~ smorz.. . . . . - l~ ''''"il1rissiIllO s-. :&",) according to the autograph m s.


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6STUDY N 10

(Op. ]0)

The student should concentrate on : Development of extension. Strength of attack of the 5th finger.Perfecting of chord-playing. Flexibility of the hand and the wrist. Rhythmical independence.

In spite of the fact that the outstanding difficulty of this composition relates to the successive brokenchords which form its melodic structure, it is imperative that before undertaking the particular study orthe latter, special exercises should be devoted to acquire the individual mobility of each finger.

It is a common mistake when practising said passages in broken chords to use the wrist as principalperforming agent. This compels the fingers to press the keys only as far down as the swiftness of the wristmoving along the keyboard will allow; a certain stiffness and compactness of the fingers result, and thisimpairs both ease of execution and tone value.

We recommend the exercises given hereunder in order to restrict the use of the wrist to its real objecti.e., to aid the motion of the fingers by its flexibility, but not to command them.

First, practise the movement of thumb and forefinger thus:

Repeat by fragments of four bars, each one 5 times, with the following rhythms :

Then, prepare the firmness of attack of the sixths :

- - - - - - - - - - - - - - - - - - - ~ - - ~ ~ -5 5 s 5 ~ 5 ~.:---::----.,_r ~ : _ ~t r ff fr fW C frP tfr f r tr f lQ ttr . - - - s - - ." - - - = - 5 5 S ~5 h5 .B. ~~' 00#W r f'f ' r ' I T ' l j t f i r , " ' ..h, -~ ~ F r r ! r 1 -

Further, to obtain equal strength of thumb and 5th finger :

Next, in order to develop stretch and dexterity of the fingers, practise, again by fragments of lour bars.he following formulae - taking cart' to hold the upper notes (insofar as the stretch of the hand allows) :


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r, 7

(the semiquavers of the nine first variants should be practised alternately legato and staccato - the crotchetsbeing considered throughout the exercise as held notes.)

We recommend the sixtee;rt:rulae given above for practising the left hand. The following fingeringsshould be used alternately : . or

The melodic accents of thumb a)nd 5th finger marked by Chopin must be strictly observed when perfor-ming, but in no way should they be allowed to impede the impulse and the aerial flight of the figure.

The same remark applies to the staccato of Bars 13 - 14 - 15 and 16 whose lightness and precision mustbe practised as follows :

The sixteen models above-mentioned are not suitable for Bars 43 to 48, nor for the two bars precedingthe last, as the piano-writing is different; the said bars should be practised thus :

5 ~ ,5 "I ~ H .- . 5 I.1.. ., " , " l f U " i 4 t, E 1 ' ~ . ' ~ ~ ~.~ . b r c ~ - = i F~

c. & z ~ id t E H Elj~i ' Othese exercises to be played on chromatically.

Next, as they are written, with the rhythms: U U 1:1' ~ . It:Jl t:J l1 ~ W IPreliminary exercise for practising the bar last but one :

~.tell . W~MThe following figure for the left hand wi1l help to avoid abruptness of attack or heaviness of the thumband the forefinger :

I 2 I 2 I 2 1 1 i I = i j : 2 = = =

l.h.;!We 6 $ _ in j i j J d4 t~ l j j~~~5 4 :)

Semiquavers should be played alternately legato and staccato.ALPHED CORTOT


64/83

68STUDY N 10

(Op. 10)Vivace assa~i~(~J~'~=1~5~2~) ~:- _

~ ~~ >-"

leg-olO sempre ' * ' . r e o . '*' . r e o . ~ .

' * legatissimo' . \ C i ) . ' * ~. ' *

~.Here we recommend a change or pedal on every crotchet ir the root be supple enough.


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~ . * ' 1 t b . * ~. * ~ . " * ' f r o . * *

' 1 t b . *'fw. *'~.*~. * ' fro. ' * 'fro. ' * ~ . ' *

~. * ~. * ~. * ~.

~. ' * '* ~ . '* '*

The lael that no accidental appears on the m s before this chord has given rise to various interpretations aecordingo different editions. Some mark it as " A Ilat ", others as " A natural " - - the latter being more likely in our opinion.


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70

* ~. ~. 'fro.' ' *

' * ' . f r o . ' . r eo . ' * ' f o o .

' * ~ . ' X w . * ' . f r o . ' *

(1) Same remark as P. 69 - we recommend" D natural ".


67/83

71

8 ~

--;---..sempre legalissimo= = = = = -'fro. * * * 'fro. . . c : : : : : : :" * ~ . : fl * 'fro.8 _ _ .>-~ ~ ~ ~ ~ ~ ~ ~ ~ !: !: q ~ ~ ~!: ~ ~ ~b; ~

~ - - -- - - - -- ~ . . . . . . . . . 1...1...= leggiel'issimo e dim.'d . t t = 1L -. u _ - : ; : : : : : : - - - - . ~.. : J . L 3 J . .-. . . . . .. .. . . . .II 14 I '3 , 15 1 5 I 1 5 '1,-*. : ~. ~. ~. *~. * 'fro. 5* '.fu).

doloissimo

* ' fw. * ' f e u . * ~. * 'fro. * 'fw.

* * ' fw. * 'iw. * ' i 'w. * ~ . *

" * ~. * 'fu. * ' f ro. * ~. * ~. *


68/83

72

t f r o . * * * .~. * *

~. * ' ~. * * ~. * ~. * ' X e t I . *

~ . * ~.~ !

~. ' r e o . ~.

* * ' X w . * ~. :>* 'fro. *~. *~.'fa). ' r o o . ' t o o .According to the autographe m B.


69/83

STUDY N II(Op. 10)

The student should concentrate on : Development of extension. Singing tone of the upper notes in tin.'right hand. Ease and lightness of execution.

In order to perform this Study with the required expression, it is necessary to suppose it has been writtenas follows:

The tone of the upper melodic line in the right hand must pre-dominate throughout, except duringthe lapse of a few bars when it yields its prevalence to the inner part.

On the contrary, one should avoid giving too great emphasis to the thumb of the lcft hand. Indeed,the melodic figure which it has to play is of less harmonic consequence than that of the bass.Therefore, as regards the right hand, the preparatory technical practice will consist in obtaining a light

attack of the lower fingers, in developing their rapidity of execution in wide-spread positions, in increasingthe strength and balance of the upper fingers, - as it is they who play the expressive part.

First, practise the following variant

which will be modified further, as follows : >-'7'. ~\ ~ _. ..I,Ab!,*w--rftbrkfS

Practise the Study throughout by fragments of eight hars according to the two figures aboveThen:

a ; wt -The accent should be made with the finger only, the hand remaining motionless.Further:Raise tile fingers with utmost preeisiou, the fingers and the hand very steady. the wris! r1exihle.The four-note chords should be practised in the following manner :~ t f I 4 ~ l J ~ ~ i i a U = ~II! 1

((':\;i1I1I'!"~ h"ITO\\I'" Ir.un It;11 - : t ) _


70/83

If such wide-stretches with held notes. prove ton fatiguing, do not insist hut replace above-mentionedformula by the following_:~===:::::;:;:;~:;::;;;;;___;;~2===_ _ ~ ~ = = = = ~ ~ ~ = = = = ~ = = - _

D. - i f c frft tr f r f u r a r r C e p r t (frfqi"1 2 525 124 2 ,

The exercise in four-note chords will be replaced by the following :

Formula D should of course be adopted as well, even if the conformation of the hand admits ofpractising according to formula C.

In order to develop extension and suppleness of the wrist, we recommend as excelJent the followingvariant:

E. ? f . , ; . \ _w;thfo f i i ; t u I'ifliiwzTo the latter exercise may be applied most of the rhythmical variants - and others - set down for Study

N tOp. 10 : we recommend to practise all the chord combinations of this Study in the same manner.For the left hand. first practise thus :

~ .tm. I I ten..?h iflli e E f f i ' r r r I f r tthen ,~. ~ i f t i C itij~"

Fi 5 5 5 next, the adaptation of formula D.

It is needless to say that when performing there should be perfect coincidence of the arpeggios in bothhands, and that when one hand is playing four notes while the other is playing but three, the final notes ineach hand should be heard together.(1) Bars 25-27-29-30-31-44-46 should be played in such a way as to emphasize the inner part of the righthand. cr ; J l tic.It=x.

same formulae for the left hand.Only by practising most carefully the foregoing exercises will the student be able to achieve a perfect

and truly musical execution of this Study. Fantasy of expression, a flowing melodic line, an elegant andharmonious sequence of chords are the qualities that give this Study its individual character, and they canonly be attained by the mastery of the special technical problems contained in it.

To complete the exercises set down for this Study. we advise in order to acquire extra flexibility andease in the quick succession of wide-spread positions, the following models which should be transposed intoevery key :

12:;~5 2 :;~ s . b ' ~.- t - . t .t zg t J l r e . t }! ! t J t a ! t 8 f t 1 3 3 t+~t i i J F j]gradually quickening Lhe tempo.


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75

STUDY N II(Op. to)

Allegretto (J = 76)~~ 4~/5:i"( 2 mill.)

3~i 4 3 4 5 4 (3')' 2 5' > i~~~~~~b~~~ $t~~ $i-'l'!'11 ,~I 'l I ~ $ ~ tl~b... tl $ 1 : ~ , 111 $ $ ~ : . . . . IF- .~. ~ --::::::: fop H ~ t i ~ i : ! R ; ~ ~ ~ I R . ~ : ! R . ~ oreso.j~f~ f~ i~~ ~ ~. ~~ Hi 3~~_ : I _ ~ . ._ ~ .~ ~.. 3 .. II' II' i . ___ ___..~'' ! r o o * ~ . * ~ . *

.~.* 'lto. * 'lto. * 4' fro. * " ' X w . ' * ' f c i ) . " * l)/~ 4

~ . *~ .* '2 w.* a:.~ ".-MAJ. ...;: 'fro. * , ~ .*

'fro. * ' fro. * 'fro. * ~.* " X w . * ' 'fu. ' *. B. The pedal is marked only where it should cover a series or chords; wherever it is nut marked, it should b e ehangedn ea('h chord.


72/83

76 "-~~~E I . 4 5 ,.- - 3 - ' t ~ ~ . ; g 3 ~ ~.j, 3 2ib ~ ~ b ! 2 !j _ r)~ # 2 !j 2 2.~ 2 s b 2 \hi ;lbil- $~~b ; $"S :!~~,l; ~...h .! :~ r~~I !~ ~ ~ i: ~ t ~ . . . . ~, ro.-H.~- ~-# ':;-IiEH' ., I~~3~~~~~1 J i:' cresc. ~ iI . .EresE_:h~J~~.~~.~~ ;p '~ : b ; , . : . ,'[)I'- il. il. .... ii i ~~~ L ~ .. ~.. :~ ... ~;._;~ : ~.,$ - - $ = $ t= 1:~.-

-_ . ~

4 ~- 4 4 ~. * ' . f r o . ' . f r o . ~. * ' ~ . *~. " * 'iw.~.fl,

i i

* 'i'w. * ~.* ~.* ' i { . 4 ) . * ' 'fro. * ' fro. * ' 'fro.'* 'fro. * "con orsa I) r,8 ~ ... 4 i ~I~ i ~ b '" ~ ~ ~ ~ i ~ '''8234321 I 1 .2 ! 4 I) ..b ; L ; ~ ~ ! - _ t. ~.~Jt'>( ~~J! ;.I - ( - - . . ~Lt.."j I I .4 ~ . , , D . I 3PP poco I'iten. P - ,=j)riolce f~~ . . t ' " ~ . . ; , . . ~I,.. t ,.. # . . 1. S. ~!: $ ~ !~-~~'!e:~;~ :~ ~.II t~~ 3 1 1 ~ ~

0 -t_- 4'2 :j 2 2 2 2 ~ ~'!I. , ' * ,5

*~. * 'fro.~. * ' . f r o . * ' ~ . ' ~ . *___ 1" 3 ~ 3 4 2 3:l~~3~'1 L ;~~.$ q l ' - :.!: i~~ il: fi. ~L ~i. JI :. ~ ~i !_1!. l i ; h ~~ It:. ~!e lbJ!:. . , ~ .--t- .riolci.


73/83

' f e b . * ' ~ . * '

' f r o . * '~ . * ' ' l e o . * ' ' f r o . * 'fu. *~. *8........ .. .. ...... .6 fj 5 55!) 5!'; 5 s ;:; 5~8 I b2 2 :f' : , ~ ~~~ . b 2 ,;, ~ :> h~ Jb~ ~.--; S i J ~ a - i.~ ~ ~1 , :~ i~~ii. # ; , $ ~ ~ ~ ~- - -

J I) I I I I>r A pr ~ ~ i' \.. -r-e-.., ~~"~ r ~ ~~1 4 ~b ~i~1q!r ~ ' P " I . $!_ $q! :!_ W~ ~!858....: j " 3 4 @ g $~ $ ~ i!: i e i;' t~'i , _8 .f!i ~ . . . i i i " ~ ~ $~ . . .

-!. I ' 181110rs. -==::::: 1 ~ D V V V ._= = = - ~ . ~ ! f t r~, 1 \ ~ !: ~'~.L ~ ~ ,~ .(. 1~ ~ $ ~ ~ ) ~~.. 3' ~ ~ -3- .~

4 f ~ II t1~~f 3 '~44 - - - - - ~' X w . 'ito.

* * '

I) ~ 8 . . .~... .. . . .. . . . . . . .. .. . . . . .. . . i ' : ' \ :5 2 5 2 .,

~.) Variant marked by Chopin: -'i


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7MSTUDY N 12

(Op. 10)

To enlarge upon pianoforte technique when referring to a composition which is an exalted outcry ofrcvoit - to set down fingerings for pages wherein the emotions of a whole race' of people are alive and throbbing- to compose practical exercises for music pregnant with the mysterious and terrible force of genius, mayappear an odd misunderstanding of the deep inner meaning of this Study and a dull appreciation indeed ofthe pathetic and exalted element which composes its particular essence.

Nevertheless, the throbbing, the sweep and the marked vigour which run through its pages wi1l onlybe truthfully rendered by the performer who has overcome the difficulties and who can completely ignorethe numerous technical obstacles which lie between him and the feelings he must express.

Consequently, the study of compositions similar to this one should be approached with an unassumingand respectful attitude which are in themselves the proof of that comprehension which lends dignity andnobleness to virtuosity though the latter is subjected to interpretation. One should not therefore - beforehaving mastered the material points - launch into performance aided only by summary indications, extemporedynamics and an abusive usc of the pedal. One should, on the contrary, endeavour above all to acquire bylong, patient and searching labour the strength of the fingers, the evenness of playing, the fine quality oftone which will ultimately be the helpmeets of musical thought.

When this necessary task has been fulfilled, then, and only then, may the performer prove that he isgifted with genius, imagination, or simply with talent : Chopin lays before him the opportunity to do so.

First of all, full attention should be given to the left hand's technical part by practising separately thefew essential figures which form its melodic outline.

10 The initial figure :

First, practise chromatically, downwards and upwards for the space of one octave, the following exercise,in minor thirds :

Then, IIImajor thirds :

gradually lengthening the shake and quickening the tempo, but all the while with a ternary rhythm.Further, transpose the successions hereunder into every key:


75/83

79Finally, practise the passge as it is written with the following rhythms :

hich should be used for exercising the left hand throughout the Study.N.B. When performing, great care should be taken that the accent of the forefinger. on eaeh beat does

ot slacken the tempestuous sweep of these opening bars, but nevertheless that the rhythm should begorously marked.However, it must be observed that Chopin's fingerings do not permit certain virtuosi to give this proper

ccent without the help of a pressure of the hand which impairs the evenness of playing and impedes itsehemence. This problem pertains to manual conformation ;it can be solved by practising the exercisesentioned above.Should the student, in spite of sedulous and patient practice, and not from discouragement at the

lowness of his progress, find himself unable to achieve the vigour and swiftness required in this passage,e may adopt the following fingering - which affords excellent legato practice - even if he does not makese of it when performing. 2 ] . I 2~ ~ 1 ~ 1 1 .I 3 2 3 ! I ~ 2 3 } 4 3 ? ' ete.~ t = + = ~ + = ~ [ r r F F r f r I . a J J J ~ ffl=20 The arpeggio figures similar to those of Bar 9 :

First, practise chromatically in every key :A? ten,'* ,

be played chromatically in every key.30 Bars 15 and 16, which should be prepared by the following exercises:


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80:to The chromatic figure of Bars 17, 74 and 75, for which the evenness required wiJI be obtained by the

preparatory exercises hereunder :2222 ~ ~ 1 2 2 1 2 t~~:?' JJ~FJ4rAf Vbbit.4 ; Idem4 3 4 play on 4 4 S 3 3 3 4 ,chromat.ically222211112 12 I 2

minor ~ ~ J ) J , O J ii~JJ J ( f J 1 r J l !thirds >; I -~ : 1 !r r r ~rr22221 2 I. 2 Iseconds ? I,J J a if) ) u . p J J . i k \ r E r , r e r % + r

4 s .. 113334 I

t " ' r ,

60 Bar 28. See preparatory exercises set down for Study N 4 Op. 10.70 Bars 29, 30, 31 and 32.Evenness and strength of the fingers will be obtained by practising the progression of positions in the

following manner .First, without the thumb.

? fiJ J'Rim W I ~ j.Q ij ~ I-5 4254 5 5' 54play on chromatically with the same fingerings.

then

and finally :

will ensurea more vigorous attack than this one: ,~ 1; J ' f i J J--5' 4 5"already mentioned, the former fingering should be used only when the regular fingering has been carefullypractised.

The student having mastered the difficulties of these various passages should connect the latter intofragments repeatedly longer, until the left hand part throughout the Study has acquired such vitality andsuch eloquence that it can stand alone - without the addition of the right hand - as a compositionpossessing a musical interest of its own.

In order to achieve this, the student should make use of the rhythms set down above.To complete the practise of the left hand, the exercises relating to Study N 8 Op. 10will be found most

suitable here.

II 2 5 4: however, as in the case of the modification


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81

It is on the noble and vehement diction of the right hand that depend the beauty and the thrilling pathosof this Study.

Considered from a purely technical point of view, its execution offers no considerable difficulties.Nevertheless, it would be a mistake to believe that one could dispense with carefully preparing its perfectinterpretation. The student is too often prone to be somewhat careless of figures such as octave or chordsuccessions of expressive quality, or of figures comparatively easy to play to which he does not give as fullattention as to other passages demanding either greater velocity or hasardous displacements. This neglectexplains why we meet, in many a performance, with such like dross as ,; pianos " played too " piano ",colourless, lifeless, toneless and bereft of vibrations - or with " fortes" agressively hard HS if smashed underoo abrupt an attack.

It is needless to say that the broadness and richness of tone necessary to the pathetic and thrillingdeclamation of this Study does not permit of its performance being marred by flaws of this kind.

The preparatory work will therefore consist in acquiring the rich tone-value required for a fine executionof these octaves and chords, through a careful study of the following principles and exercises.

First of all, repeat slowly the same octave, grading the tone from pp to /I and from /I to pp.

The thumb and 5th finger should form with the hand a kind of arc of which the latter is the centre andhose span remains the same, even when the hand leaves the keyboard to move from one oduue to the following.The fingers which are not playing should be grouped and raised in such a way that they may form with

he back of the hand a level line extending to the second phalange.The tips of the fingers should be slightly curved inwards, as much to avoid involuntary attack of

ntervening notes, as to steady their position and that of the hand which ought to be firmly maintained,hatever the dynamics.By practising in this way, the forearm prolongs the line of the hand at the moment of striking and

contributes by its weight to the grading of the dynamics. The wrist should remain flexible.During the pauses, the forearm should be raised at the same time as the hand. Avoid turning back the

hand when it leaves the keyboard: on the contrary, let it hang a trifle forwards by help of a slight flexionof the wrist, but steadily maintaining the position and stretch of the fingers.

Be careful never to quicken the tempo during this exercise. Count two beats for each minim, and twoor each minim-rest.

Next, practise diatonic and chromatic scales as well as arpeggios and octaves, in every key and in thesame manner, i.e., using exclusively the thumb and 5th finger, and with the following dynamics: pp to /I -and vice-versa, observing a rest between every octave.

Ex. 2 . , . # F F ~ i ~ i ~ F t-rpeggios pp ff pporn- pp . t TListen attentively to the tone produced, and gradually quicken the tempo. Practise each hand separately,

s of course, these same exercises apply to the left hand as well.The expressive value and timhre of the octaves is often richer when emphasis is laid on the vibration

f the upper part (the lower part for the left hand). Such is the case in this Study.


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82In order to develop the strength of the 5th finger, practise the scales and arpeggios in the following

manner:

The 5th fingerplays alone, the thumb only touching the key without pressing it down. The fingers shouldbe kept firm throughout as above-mentioned, and the same dynamics should be used.

The same rules concerning the position of the hand given in Ex. 1, apply to the octaves played withthumb and 4th finger - except that here the 5th finger, instead of being raised and curved with the fingerswhich are not active, should retain almost the same position as when it was playing.

Practise all the foregoing exercises with this fingering.Then, combine the two fingerings, practising with both hands, thus :

5 , & . . 5 " 5 " 5, , , I Ia

1 , Ir.h. . . 5 . . I . . . . t ja j 3 ~ J 1 0 J ~fc., l lI , l l l ll.h. I 1 1 I 1 , 1 1 15 . . 5 . . 5 . . 5 i 51 1 t t t t I t I. . 5 . . 5 . . 5 . . 5 . .Endeavour to balance perfectly the tone of the successive octaves, and with dynamics.Next, practise the right hand part throughout the Study with the rhythms and the dynamics as they

are marked, but playing only the octaves (i.e., leaving out the inner notes which complete the chords).Practise in this manner from Bar 10to Bar 45, and from Bar 50 to Bar 69 (*).

Before going on to the final study of the said passages as they are written, we recommend practisingpreliminary exercises relating to the preparation of the fingers before striking the chords, which is an essentialcondition to ensure their firmness of execution and fullness of tone.

The student may find profit in practising after the followingmodel, which can be applied to scales andarpeggios in every key :

(The notes printed in small type mark the mute preparation of the chords) play on chromatically

Count one on each of the minim chords, tw o to deepen the pressure on the keys, three to raise the forearmd hand, lour to prepare mutely the followingchord - the hand remaining above the keyboard. Be carefulstrike directly, with fingers firm and playing strictly together.

ALFRED CORTOT

(.) We wish to mention that the object of the above-mentioned exercises is to achieve a fine execution of one special


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STUDY N 12(Op. 10)

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86

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87

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