- Études, Op.25 (Chopin, Frédéric).
- Parts, Versions, Transpositions.
- Chopin Etudes, Op. 25 - Download free sheet music;
- #1166 LADIES OUTING SWEATER VINTAGE KNITTING PATTERN (Single Patterns)?
The ocean etude op. I don't know though, because i've heard some people call it the hardest. But if you want a piece within your "forte", try the revolutionary etude even though everyone plays that. Hello, I just joined this forum. It looks like a great community. A little late to the party with this discussion, but It's difficult to say which is the "easiest" of the Chopin etudes because people have different techniques. They are all advanced pieces, btw. Just because the lh is easy Any of the ones in the "difficult" category are suitable as a "first" Chopin etude to learn.
If you haven't played any of the preludes or nocturnes, you should start there, though. I know this is an old thread, but I thought I'd make an informed contribution. First of all, everything Mike says in the post above mine is very well informed. Secondly: before you even begin to think about playing a Chopin etude, you should gradually work your way up, from Czerny 30, 40, 50, Cramer-Bulow, Kessler, Mosheles, Mozskowski, and of course the Chopin walzes, nocturnes and mazurkas.
After that, along with the help of the Cortot practice, you can start from the easiest of the Chopion etudes and finally give it a try to study for instance the op. Originally Posted by BuddhaBandit.
Etude No. 25: Salsa - Alto Sax Unaccompanied
Chopin's opus 8 no 12 Revolutionary Etude isn't all that bad. You only need have to a little stamina, get down the patterns, and some rudimentary rubato. It's all in the patterns, rhythmic consistency, and clarity. In my opinion, it's less complicated than mastering Bach's 4th invention. There is no wealth like knowledge, no poverty like ignorance. If you do revolutionary etude- please post it on youtube.
The left hand would blow my mind! Originally Posted by OutdatedPlaylist. I know this thread is over a year old The Op.
Etude Opus 25 No. 7 | Astra
I believe it took Brendel about 6 months to perfect this particular etude. What are the 'easiest' to perform? Mike's list is a pretty good starting place. The easiest Chopin Etude, it would be Op 25 No. Play the first third BD sharp the third containing the thumb with a forward elbow out arm movement followed by the next third C sharp E the third not containing the thumb with a back towards the torso elbow in arm movement. You can try all the pairs of thirds in the piece this way.
For the chromatic third scale passages, try 1.
Étude Opus 25 No. 11, “Winter Wind” in A Minor
Then, at a moderate speed, pulse in groups of 4, then pulse in groups of 8 as the speed comes up to tempo. Ultimately, in performance, you just mentally note these pulses without doing too much on them. They become mental signposts for organising focus. The trills also eventually have have a slightly anti- clockwise small shape too.
For the opening fingering, it depends on your hand. It is an unusual technique.
- El Amante (Spanish Edition)?
- Chopin - Etude in A minor Op No Winter Wind sheet music for Piano - dogtsdeselysot.ml?
- The Spirit of the Place (Oberon Book 6)!
- More By DigiClassic?
Chopin Etude Op 10 No 7 has the same technique. Quote from: mmm on May 14, , PM. And, as stated in my previous post, when one achieves maximum speed, it just feels like small movements anyway, as well as little impulses at regular intervals, which is typical of all fast playing no matter what the underlying technique involved is. In the end, it will I agree seem that the fingers are mainly doing the job, but there will be an additional freedom that occurs, which is also necessary to play this piece comfortably. Most pianists can play much of the technique in the repertoire naturally, without the need to analyse what is going on underneath physically during the process of learning.
This is why the arm involvement is more obvious at speed than in other parts of the work. Your first post seemed to imply that 'arm motion' was something of a 'secret' method by which one could master this etude. Perhaps I read it wrongly. My contention that arm motion, in the case of the original question, was more likely to be the result of a reaction than an action in and of itself. So, a stationary arm is not the starting point for the trills. However, it IS where the ending point should be, for the most part.
The fingers ARE capable of moving quickly enough and with enough coordination to play every note of the trills and the ascending minor thirds scales without any significant aid from the arm and wrist other than to just cooperate and stay loose. Perhaps what you are advocating is not so much a technique to achieve the notes by some kind of arm motion as much as it is advocating SOME arm motion that ensures the body above the finger level not lock up and become too tense - sort of like the Alexander method for the hand What I am implying is that arm, hand and finger collaboration is an essential part of the underlying technique of the trill and tremolo passages, in particular, here even though,in the end at performance speed, it may not be evident to an observer or even to the performer, for that matter.
So, in effect, I agree with you that, at speed, it seems as if the fingers are doing most of the work.
This principle holds true for any advanced piano work. What I am talking about here is a practice strategy that will ensure quicker success than just fingers alone, especially knowing how frustratingly unwieldy this piece can be. Even Josh Wright YouTube said as much. Trifonov, too, said that these Etudes are "excruciatingly difficult". The approach I described for trills and tremolos, works for the scale passages too, even without the lateral shaping in pairs.
What this arm movement from my previous post essentially feels like is a whole arm rotation to the left for the "thumb"third, and a whole arm rotation to the right for the "no thumb" third or whatever chord is involved. So you actually practise the thirds in pairs with this rotational movement. As I said, the arm movement is a practice strategy in the slower learning stage that will definitely bring the performer to a controlled performance a lot quicker, than just trying to slog it out with the fingers alone.
You said yourself in a previous post that you experienced a "rocking" motion occurring during your practice. What is this but arm movement? There was a much earlier post March 8 from a respected and technically- informed forum member- Bernhard- who in his first sentence on the topic "Thirds" states that "thirds are played with the arm". He further explains that it is the whole arm that is involved with some elbow displacement.
Knowing what gestures - arm and hand choreography are involved in a given passage and then combining this with vital finger activity can bring mastery quickly, and as I said in the previous post, can make a piece accessible and capable of mastery a lot sooner than normal. It is not a secret. It is not the Alexander Technique.
It is technical knowledge that can unlock the many vagaries of advanced technique that have been denied many aspiring pianists access to the virtuosic repertoire. Graeme Fitch is an inspiring teacher in this regard, as are writers like Georgy Sandor, Seymour Fink and Neil Stannard, amongst others. My motive here is to help people play these advanced works.