My wrist rises as I get to the loudest note of the rip - 5, and falls quite quickly. I don't think any technique is 100% arm or 100% finger.
If your wrist rises from the bottom to the top of the arp, how exactly are you pushing down into the fingers with your arm as the primary motion?
My description in the last post was rushed an obviously lacking in detail - its sounds as though you need to think about what possible differences there are between what you are doing and what you
think you are doing, and in turn.. particularly how you are describing what you are doing.
All that comes out in my mp3?
Structural breaks would be evident in anyone who experiences "splashing" and finds it difficult to play the piece to any reasonable tempo - as I said before, the balance and stability of your playing structure is thrown out by the content of this work. If you were stable and had no breaks you wouldn't be asking the question you are.
So in short, I don't know it because of your mp3 - I know it because you're personally concerned with the physical side and how it effects your performance, especially in the form of practicing a specific described in words physical execution throughout the work, rather than practicing controlling the dynamics of the RH, or bringing out the LH over the RH, or rubato... There is obviously nothing wrong with that, - I certainly went through that stage in learning 10/1 - and still revisit it in specific more challenging bars.
We don't normally recommend that students start with this chopin etude, rather 3, 5, 12, or 25/12.. the ones that are supposedly easier. But I'm rather inclined to think that there is a reason this etude number 1. It pretty much makes a single point, a point that will be the foundation of all playing there after. That's the genius of it, its not a how to play arps study, its a general how to use your mechanism study. One that is immediately expanded on in the 2nd etude yet in a completely different musical context (yet the same physical point).
I think the way I wish to play this piece is the hardest way possible
This is totally backward. Don't approach it from the perspective of how you think it should be done physically. Consider what it should sound like, explore the physical side until you find a motion that successfully produces the sound.
I hardly want to get into what chopin might have thought (because I don't know), but I will say that these are just not etudes like hanon exercises. They are not built upon a "exercise" type approach. They are a 'sound' that its VERY difficult to produce (i might even argue impossible) without using the right technique. You can't play it the "harder way" because that's what you want to do because its an etude (thinking that a particular physical execution with improve your playing over time) - chopin's point is to teach you the physically correct way, to force you to find you're "balanced" finger/hand/arm. Progress is fast, find the right movement and
suddenly you will not have nearly as much difficulty.
The only trouble with getting the sudden progress here is that this work pushes you so far beyond your limit (as in the limit of those who have not yet learnt this or another such work) that for someone that is not ready it may not happen so suddenly. Which is precisely why when I talked about keyboardclass's video I said he needs to do EASY repertoire. So that the primary focus can be balance (the notes/music isn't at all difficult). So that the "balance" element is an instinctual habit when one returns to this work and gets thrown off it by the wide fast intervals.
One must first develop an awareness that there is even a problem before tackling something that nails that problem to the wall and slaps it around relentlessly.
^Alot of alan frasers ideas help with that - thats not a suggestion that you should agree with alan's conclusions about piano technique, but his exercises (anything fuelled by his feldenkrais training) are specifically aimed at increasing your awareness of balance/stability and the sensations of playing. You can form your own conclusions about whats feels right for you, but you need the awareness. That part is universal... alternatively you can just directly study feldenkrais or the alexander technique - and apply the concepts to the piano.
Topic: Why do we splash in Op 10, no 1?