Best Etude to pick

[ail]

Hi all.

I've enrolled to an admission test for a conservatory, and they demand that I play a study in it. I don't know any and I will have to learn a whole study in 2 months.
They do not demand a specific composer, although they suggest Czerny, Lemoine, Bertini and Duvernoy.

At this point, I'm having classes with a private teacher who was thinking of making me study Chopin's Op 10 n.3 as my next piece, but when he told me that we still didn't know a study would be required, so I guess he wasn't meaning it for the test.

I'd like to know if there is some Etude that I should pick that I can learn well in this time and at the same time is beautiful enough to have some sentiment (since I'm visibly better in the sentiment part than in the technique, I guess).

Currently, to give you an idea, I'm playing the following pieces from Chopin:
- Nocturne no. 19
- Nocturne no. 2
- Nocturne no. 11 (almost)
- Prelude Op. 28 no. 15
- Prelude Op. 28 no. 4 (almost)

and polishing / learning still from Chopin

- Nocturno no. 6
- Valse Op. 64 no. 2

I also play Traumerei form Schumman and the first movement from the Moonlight Sonata.

Given this, perhaps you can have an idea of my ability, whatever it is, and so, could you please suggest me what Study should I pick? Should I try for the Op 10 no. 3?

Of course I'm going to talk with my teacher and decide it with him, but I'd like to have some other opinions.

Thank you all.

Alex

[nanabush]

Rachmaninoff Etude op 33 G minor... It's very emotional, has an excellent cadenza, and is probably his easiest etude.  The chopin [I'm guessing] is much harder. 

Well the Rach etude is roughly 4 minutes, give or take like half a minute, may take some time, but is beautiful nonetheless. 

[mike_lang]

Don't they usually want it to be a virtuosic etude?  Not that 10-3 is easy, but perhaps something with a little more technical flair... I remember one of my audition pieces was 10-5 "Black Key", and that went over well.

Best,
Michael

[jlh]

Don't they usually want it to be a virtuosic etude?  Not that 10-3 is easy, but perhaps something with a little more technical flair... I remember one of my audition pieces was 10-5 "Black Key", and that went over well.

Best,
Michael

I don't mean to throw a wrench in this idea, but the 10-5 is on a considerably higher level than the rep mentioned.  10-3 has some virtuousic moments and can be a pregnant dog (lol I LOVE the censor substitutes for certain words) sometimes to get right.  Also, you might consider the 10-9.

[mrdaveux]

OK, there, none of the Chopin etudes is as easy (or even close) to the mentioned rep.

So if you want to stay within your current abilities and have 2 months, if you want a lyrical kind of etude, what about Scriabin op.2 no1?

[jlh]

OK, there, none of the Chopin etudes is as easy (or even close) to the mentioned rep.

So if you want to stay within your current abilities and have 2 months, if you want a lyrical kind of etude, what about Scriabin op.2 no1?

Very true.  I mentioned the 10-9 because the LH might be more similar to the rep mentioned.  I agree, however, that based on that rep, I don't think a Chopin etude would be an appropriate next step.

[pianote]

szymanowski's op.4 no.3 etude would be a good piece for 2 months...it's not that hard to learn, about 3-4 pages, and it's lyrical/ dramatic/ sentimental. sometimes it's hard to remember that it's an etude     good for encores too. I think you would like it.

[klavierkonzerte]

i think chopin op.25/2 in f minor is doable, it's not easy but not very difficult either.

[klavierkonzerte]

a superb and intense eutde, if played well of cource, is arensky etude in e flat minor

i love that etude, it sounds harer that it actually is

i can't remmeber the opus number right now but it's in a set of four etudes.

don't listen to hyperion recording you'll hate the etude, there's a recording with prokofiev stravinsky and chopin etudes which is great.

[lava]

The Chopin studies are really a level too high for you now. They demand a lot of pianistic virtuosity, which lacks in your repertoire.

But if you are determined and have enough time and you play one etude of your choice several hours per day, you might make that jump in only two months. My experience is that at the first glance, the studies sound and look very difficult. Don't let you scared off, in general they are quite regular and have only a few technical difficulties which you have to master. You might think of 10.2, 10.3, 10.9, 25.1, 25.2, 25.9 or the nouvelle etudes. I think you can impress them then even if you can't play them top-speed.

Good luck!

[gyzzzmo]

Chopin op25/1 is RELATIVLY easy and beautifull too

[krittyot]

You might think of 10.2, 10.3, 10.9, 25.1, 25.2, 25.9 or the nouvelle etudes. I think you can impress them then even if you can't play them top-speed.

Good luck!

10-2

 

u gotta be kidding

[kriskicksass]

The nouvelle etudes were meant to be a step below the others. If you need an etude fast with the rep you mentioned, those would be the best bet. I'm pretty sure the polyrhythm one is the easiest.

[ail]

hi all.

thank you for all the answers that you have given me. It is only fair that I tell you of the result. I didn't have the chance to hear to or locate some of the proposals you gave me.

But my teacher gave me three choices on the following class: Chopin's Op 10 no 9 (IIRC), Moskowski's Etude de Virtuositι Op 72 no2 and Czerny's Op. 299 no 5.

He discouraged me from the czerny because he deemed it too simple compared to the Chopin's Nocturne Op 72 (which I'm practically finishing) so he gave me the choice of the other two.

While I could sight-read the left hand easily and go through the first page with both hands in the first tries, I found the left hand extremely awkward with too big leaps for me. I feel I don't have the accuracy for that yet so I preferred the Moszkowski (with all notes much nearer to one another).

So, what can you say about this piece? I have been practicing it for almost 3 weeks now, and I can say it is turning easier than it appeared at first. Of course there is that demonic part (for me) that you have to play with the 4th and 5th fingers of your left hand, 8 bars in total, that is giving me the most work, but I've got it almost all in my head now and ready to speed up (I'm still going relatively slowly, trying to know it in a way that I can follow the score now and then without being surprised by what is there).

My teacher is confident I can learn it until July. I'm not so much, but more than I was at the start. What do you think?

Ail

[soliloquy]

The best etude you can do without needing super-virtuostic technique is probably Rachmaninov Etude Op. 33 No. 8 "Grave".  There are sooooo many crap performances of that piece; if you can nail it you will DEFO impress the jury.

[turner]

Alex,  I believe you sort of answered your question by stating that note-wise, you have a more intuitive grasp for Mosz, whereas Chopin seemed more awkward.  Chopin's 10-9 isn't a bad choice, and has been understood by many as one of his more accessible Etudes.  If I'm not mistaken, many editions of this Etude have this ridiculously difficult fingering of 5-4-1-4-1-4 in the left hand in the opening bar [F-C-(A-flat)-C-(B-flat)-C, etc.].  When you wrote that you had difficulties with the stretches, I wonder if you were trying to play as the fingering that I outlined above, i.e. stretch a 5th between the 4th and 5th fingers.  Don't do it! Change the 4th finger to the 3rd finger for a more secure pivot.  But if you have decided on the Moszkowski, that's fine too. Moszkowski is famous for writing music that sounds much harder than it really is, one of his "tricks" was distributing notes between the two hands, and I'm sure you have already found that on the final page.  The difficulties you described seemed to be on page 2, which you could try to practice out of the context by just do a lot of trills with your 4th and 5th fingers (D and E-flat) --make sure they sound even and secure, and you don't strain your fingers and hand.

Good luck with your audition and hope this helps!

[kitty on the keys]

Moskowski----F major or g minor
Scriabin   op.2 # 1 in c# minor
Best of luck in your choice!

Kitty

[ail]

But if you have decided on the Moszkowski, that's fine too. Moszkowski is famous for writing music that sounds much harder than it really is, one of his "tricks" was distributing notes between the two hands, and I'm sure you have already found that on the final page. 

Indeed, but let me ask you one thing. In the very final section there are several groups of 3 notes that repeat in a steady descent to the bottom of the keyboard. If I recall correctly without the score, it's F#-G-Bb; C#-D-G; A-Bb-D. I play each alternate group of 3 notes with alternate hands, which means I get to play each group of notes with both hands in different octaves. Is this the way to do it, or should, for example, the left hand always do the groups starting in C# (so that it can reach the lowest G with the 5fh finger) and either a fixed one or 0 of the other two groups?

Alex

[turner]

Alex,

Thank you for the follow-up question. I've been busy at work so I haven't answered until now.

Regarding the final passage you mentioned, I actually alternate the hands within each 3-note grouping, because, frankly, that's how the notes are printed on my copy (I don't have with me now, but I'm sure that's how I saw it and learned it, i.e. the way the stem of the notes pointing up or down).  This means that I play the F# with LH, G and B-flat with RH, and following the same scheme all the way until the LH hit the low G at the end of the sequence (i.e. before the 4 final chords).  Does that make sense?

In the central section, there is a similar passage in 3-note groupings right before the return of the main theme (A-G-F#, E-Flat-D-C, etc. etc.).  Now, that's played differently in that you do play the 3 notes in each group with one hand and alternate the hand in the next grouping.

I'm trying to be as clear as possible  .  Although I have studied this piece, I'm by no means an authority on it, but I'd be glad to help what I can if you have more quesitons. 

[ail]

Alex,

Thank you for the follow-up question. I've been busy at work so I haven't answered until now.

Regarding the final passage you mentioned, I actually alternate the hands within each 3-note grouping, because, frankly, that's how the notes are printed on my copy (I don't have with me now, but I'm sure that's how I saw it and learned it, i.e. the way the stem of the notes pointing up or down).  This means that I play the F# with LH, G and B-flat with RH, and following the same scheme all the way until the LH hit the low G at the end of the sequence (i.e. before the 4 final chords).  Does that make sense?

In the central section, there is a similar passage in 3-note groupings right before the return of the main theme (A-G-F#, E-Flat-D-C, etc. etc.).  Now, that's played differently in that you do play the 3 notes in each group with one hand and alternate the hand in the next grouping.

I'm trying to be as clear as possible  .  Although I have studied this piece, I'm by no means an authority on it, but I'd be glad to help what I can if you have more quesitons. 

Hi there, I hadn't answered before because I actually needed the score to understand what you said. I went home and noticed that little detail you mentioned and I had never seen: indeed, it seems the first note is to be played with the left hand, while the other two are to be with the right hand, but I'm comfortable now with alternatign hands. I'll speak to my teacher and see if it is an admissible way of playing it.

Regarding the other group, but I keep it with the left hand in the last 3 groups, mostly because the initial note is different (Bb instead of A) and that configures a scale from A to A with the introductory Bb (2nd finger).

I guess I have no more doubts regarding it. I do have things I have yet to perfect, but I have it all memorized safe for the left hand in that section where the RH makes G-F#-G in successive octaves. And after that, I have to add in the proper dynamics and perhaps pedal, but I'm considering not to use it at all.

Alex

[burstroman]

Go with Moszkowski!

[turner]

Alex,

You're right about the 3-note groupings before the recap of the theme--use the left hand alone in the last 3 groupings of the descending G minor scale.

It sounds as though you're working diligently on this piece--good luck with your upcoming performance!

Beyond this G-minor Etude, I'd encourage you to explore the others in this Op. 72 volume.  To me personally, the quality of the 15 Etudes here is somewhat uneven.  No. 6 in F Major is quite nice and just as popular as No. 2--you hear these two often at concerts and competitions. No. 11 in A-flat is also very beautiful. No. 13 is a double-notes study that is very lyrical--I believe Hamelin recorded it. No. 15 is also a beautiful double-notes study, but very difficult and less heard.