chopin etude 6 opus 10

[periscope]

Hi pianoforum! This is a fantastic source of knowlege.

I'm currently playing/memorizing the Chopin Etude 6 Opus 10. I started this
piece three weeks ago, and last week I began with Fugue #1 WTC from Bach.
And honestly I find the Fugue much easier to memorize! The Etude just sounds
so strange, it's really hard for me to get a "feeling" for its sound, where it is
going to move next,... Bach on the contrary has nice melodic lines, you can sing
along. My thought on this is that I'm just not used to the harmonies involved,
so could you name any pieces that a similar to this one? Any other help to
efficiently memorize this piece would be appreciated! I'm currently in a state
where I have memorized 2/3 of the piece hands separate. But I'm feeling that
this is not very good for three weeks of practicing.

[robert]

I quite my friend Malcolm about this etude:

"This étude is more difficult than it first appears for two reasons. Firstly, the metronome marking is j = 69 and not 60 as appears in some editions. This will seem quite fast, but it is intended as a slow two, rather than a slow six. Secondly, given this somewhat fast tempo, the richly chromatic inner voice is surprisingly difficult to play evenly and quietly AND with the delicate fluctuations that make it expressive without overpowering the melody. Once again, this étude must be played without pedal and is a real test of the ability to play legato and legatissimo in both hands. Section one (bars 1-16) exercises the left hand’s ability to play legato. In section two (bars 17-40) it is the right hand that must play both the melody and inner chromatics through a series of modulations. Section three (bars 41 onwards) is a shortened reprise of the opening theme with the left hand once more in charge of the chromatics.

Learn each section thoroughly WITHOUT any dynamics - the inner chromatics must be quiet and even throughout the piece. Once you have perfected the chromatics, you can then set about adding the dynamics and changes in volume. Also note that there must be no rubato whatsoever, except from bar 49 onwards where there should be a slight sostenuto as the piece draws to an end, followed by a smorzando and rallentando in bars 51-52. "

I can add a few things. First, to play legato needs some wide stretches for your left hand. Second, don't try to bite for too much in one step. It easily devides in an A-B-A pattern (which the majority of his etudes do) and learn the first part throughout before you move on to next.
About the music, it might take a while to understand but it's melancolique melody combined with its chromatic left hands accompaniment brings out a mood that I have seldom found in any other music. If you understand it, you will find a wonderful piece of music with an impatient tension that builds up and perfectly resolves in the end.

[periscope]

Thanks for your answer Robert! I never thought of analyzing this
piece thoroughly. I think I'm quite comfortable with the legato as
it is -- it is hard for me to judge whether when I play by heart, what
I play is actually correct. The chromatic character of this piece makes
it hard. Maybe I shouldn't play "with my ears" so much -- at least not
when learning by heart?

I downloaded this piece from iTunes, but have to check who
performs it -- the file is not on this PC. In this version the performer
slows down quite a bit in between, e.g. just before the
right hand repeats its motive, the one starting with ges, the first
time (I think it's bar 9/10).  The same happens also at the end, again
just before the main motive starts again. I have the Henle edition
which in comparison to the sheet from www.sheetmusicarchive.net
has less dynamical additions or tempo changes written in the
score (sorry for the bad english). What is your favorite recording and
in your opinion the best edition for the sheet music?