2. Play all the exercises an octave lower in the LH.
Following the next formulas
3.Slide the thumb to replace Finger 5 and vice versa, on the held notes without replaying the note; clean articulation on the double “croches” (?) in exercise F.
For the RH only
4.Exercises D, E and F must be worked (for lack of a better word) with both hands on every degree of the chromatic scale according to the formation of the chords and fingers seen below.
5. We especially recommend the study of exercise F to develop flexibility of the movement in wrist if necessary for the constant reestablishment of the hand by a succession of thumb and 5th fingers with the same touch (as aforementioned, really)
To equalized each finger’s touch, we’ll work on each measure of the study, Hands separately, using the following rhythms:
6. To transpose the study with the same rhythm and fingerings in ut # (I believe this is C#) and in Si minor (G minor, I think) The preceeding exercises allow us to defeat the elementary mechanical difficulties from this study, we’ll work on the melodic role of the thumb and of the 5th finger. We recommend that one increases the individual force of each finger on the following preparatory formulas:
7. We’ll obtain the accents of these held notes by pushing the fingers on the keys in lieu of hitting them. The sonority will be just as strong as the touches that were attacked closer to the outside edge.
After having worked on the preparatory exercises, we will apply the principals to the study itself though we will fragment it into groups of 4 to 8 bars, following the melodic shape of the theme, by repeating each section dozens of times, always in Forte, progressively accelerating the movement, without pedal.
Next we’ll place the study in another category of difficulty that we have previously talked about; a difficulty too intimately related to the quality of interpretation for it to be possible to see in the preliminary exercises. It’s by working the “text” of even Chopin that we’ll be able to surmount and only by bringing this work the perfection and care and all application necessary (basically, you’re on your own).
8.It will mean destroying the equality of perfect fingers, by an exact appropriation of the mouvments of the wrist to the nuances and rhythm, the impression of compound division too frequently results in the a finger employed, displacements of the hand which relates to involuntary accentuations with whcich they may coincide.
The punctuation is not: (yadeeya) but (yadee yah)
9. Therefore there must be complete use of the force of the thumb and of the 5th finger to solidly establish the angular elements of the rhythm (that is more like cut than common time here) but the rhythm must remain the same.
The other thing we must avoid is giving the accents previously discussed, with all their importance acknowledged, to deprive the other fingers of the robustness in which they must pretend to assure a melodic contour with the necessary firmness. One must establish the necessary nuance for this study; a diminuation of it sonoric intensity, even under the pretext of putting more value on the 1st and 3rd beat of each measure conflicts not only with it’s technical use but even it’s musical character
Note that the original editions of Chopin did not mention this nuance and limits its indication of accents on the extreme notes in each measure, we believe that the crescendo rises, and a diminuendo falls on each appeggio exactly as that of the author.
Topic: Please translate this (french)