Chopin: Etude opus 10 no 4
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Posts in the piano forum about this piece by Chopin:
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Hey everybody -- these are a few Chopin recordings from my high school senior recital a couple weeks ago.
Chopin Etudes Op. 10
No. 1 in C major
No. 2 in A minor
No. 4 in C# minor
Chopin: Ballade No. 2 in F major, Op. 38
Live & unedited - Kilbourn Hall, Rochester NY. June 1 2008. |
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Have several questions regarding the chopin's etude 10-4
[b]On fingering[/b]
I'm using Peter's edition, and the fingering for
Bar #3 uses 2-3-2-5, 1-2-1-5, 1-2-1-5
(for the 2nd-4th beat of the bar)
I have another versions which uses : 1-3-2-5 1-3-2-5 1-3-2-5
(I'm not sure what version is it, I got it on PDF on my com)
I tried using both. I learn the etude using the first set of fingerings. And I think there is some noticeable difference in both fingerings. (the latter sounds smoother?).
Which fingering is the more acceptable one? Pros? Cons. I heard from a friend that the 2nd allows you to play faster. How true is that? And which fingerings do the professionals use?
Also,
in the left hand, Peter's edition states that you play 3-4-3-1, 3-4-3-1, 4-5-4-1, on bar #7. But the other version seems to like using 4-2-3-1 (switching fingers on the keys). And it seems universal throughout the entire score.
Again, I learn this via 3-4-3-1. I'm not sure about the left hand but when the left hand plays the running notes it seems that either fingerings do sound very much the same (unlike when the right hand plays the running notes).
My question is, one method seems like doing a thrill (a lot shorter than it ), and using the pinky to play the last note. While the other uses more of swapping fingers on the keys. I'm sure this effect how this etude is played as a whole. Personally, is the swapping finger method more technically demanding (or is it just me because I have to adapt). I have a feeling that the latter (the swapping of fingers) seem more "correct" and enables one to play faster eventually.
[b]Other issues[/b]
1) from runs to melody
No specific passage but it's more evident in the 2nd-3rd page of the Etude
What is the fastest way to transition from a passage of running notes to the melody. (hope I made sense). Like in some cases, where the right hand plays 1-2-1-5 2 or 3 times (in patterns) and then immediately at such a position immediately "jump" to play the melody. I can do that comfortably at around 160-165BPM but anything faster than that will be hard and I find myself missing the last note on the passage run (which is played on the pinky) in order to go at faster speeds.
Does this limit the speed at which this etude can go?
2) At bar #25-#28 (pardon me if there's a mistake, I merely counted)
I'm using 4-5, 4-5 all the way on the first two semi quavers of each beat on the right hand. I think so far from what I've thought that's the only possible fingering
Specifically on bar #27-28 (where the key signature changes back to C#), i find myself cheating or producing uneven tone on the last finger. Also, if there is a tension-prone area, it would be this area which produces the first sign of tension. (though it might be built up, I'm not very sure).
Does slow practice help in this passage? Chances are it sounds (to me) okay if I just try to "muscle" it through, and moving my pinky (along) at timed intervals (because they tend to move at the same interval due to the nature of the notes and passage) after each time the fourth finger moves. I can rush through this section, but not accurately. (possibly).
Is this passage specifically to train the last finger?
3) pedal for this etude is subjective right?
I heard people comment that no pedal is allowed at majority of the places in this etude. But from what I hear (and according to my score), it says pedal in many areas.
Does it mean you are technically not as well off if you use pedal. (maybe not to hide flaws in evenness or whatever, but more of a musical function?).
I use pedal throughout the descending notes at the fourth page of the Etude (and mainly the entire passage till the repeat of course at intervals)
Thanks in advance. Hope I am not being very vague in details. I believe many people here are studying this etude (or played it in the past).
I'm playing it at 160BPM. I practice at 160BPM. when I do slow practice, I go around 120-130 where note could be heard clearly. I just finished and memorized the piece (though it's not ready for presentation just yet).
I have heavy touch piano so on a lighter piano I could go 165-170BPM (I naturally play at that speed on a different piano, I don't know why..).
I'm probably not aiming more for speed. I think 160+ is what I intend to leave this piece (I'm not trying for 180+ or whatsoever). But right now I'm polishing it.
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| I'm having trouble having accuracy witht he left hand, and I can't bring it up to speed for my life!!! |
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I spoke with a friend of mine about different Chopin Etudes and he asserted that Op. 25 No. 11 was far more difficult and beneficial to his technique than Op. 10 No. 4 or 10 No. 5.
This only works the right hand though, and for equal benefit, one would need to tackle the Godowsky study.
How hard is it?
Regards,
Daniel ;D |
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Listen the best performance op 10 no 4- Chopin ?
What do you thing ?
http://www.youtube.com/watch?v=O-ZI_LirSAs |
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this is my best shot at 12:41 pm
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| ok. here's my first take. this isn't friday yet. and, one problem i have is that i don't have it memorized - so on the page turns - i have to turn the page. i looked around to see if i had copies of it - and i don't. well, anyways - i can play fast when i want to. |
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Hey all
I'd really like to play Chopin's Etude No.4, Op.10, but it currently would be rather difficult, and is more of a dream. I'm looking for some pieces to build up the technique required in the piece, so that it will be easier when I do finally decide to give it a go. Also, any pieces that sound reminiscent of it would be nice. An idea of where I'm at now: I'm currently working on the Pathétique sonata, Lieder ohne Worte Op.19 No.3, and Rach's Moment Musicaux No.3.
Thanks |
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| Here's a couple cuts from a live session last month. Ingle Auditorium. Baldwin Concert Grand. My modest attempt at these wonderful pieces of music: Etude Op. 10 No. 4 and Op. 25 No. 6; Nocturne Op. 9 No. 1 in B-flat minor. Hope you like. |
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