Help with technique on Chopin's Etude Op.10 No.1!

[evitaevita]

What kind of practice would you recommend me in bars 22 & 30?
My hand is a bit too small for these bars, so it's difficult for me to strech and play the correct notes!
Also, in bar 31, what fingering do you use? I've tried 1-2-3-5 & 1-2-4-5.
And in bar 35, I have a problem with c#, which I rarely manage to play.

I really appreciate any advice for my problem.
Evitaevita

P.S. I attached a pdf of the study.

[tchristec]

Hello.  I will do my best to answer your question, but trying to describe the technique in words for the Chopin etudes is a bit difficult so please forgive me in advance.
This is the way I was taught and the way I play this etude myself, which I always try to keep current in my repertoire.

First off, I would like to start with some basic ground rules as far as technique.  You probably know this but I just want to review.

You should always be free of tension.

Don't stretch. Move your whole arm.

The landing on each note should be solid and secure.  In other words you want to be confident you are landing where you intend.

Always keep your arm directly behind your hand.  This requires movement of your whole body when going up and down the keyboard.  You can use your left leg to balance.

Don't let your wrists become twisted.  Do this by keeping your arm behind your hand.

Keep your fingers close together, or rather, bring your fingers along with the rest of the hand when it moves.  Sometimes my teacher would have me practice with a rubber band around 4 fingers of my hand so I wouldn't try to stretch my hand open.

The height of the black and white notes should feel the same to your fingers.  Slightly raise or lower your wrist from playing from white to black or vice versa to compensate.

Despite the large size of each interval between notes, each interval should feel like a "normal" interval to the fingers.  For example, if you are playing from 2 to 4 it should feel like you are playing the interval of a 3rd.

Now I will try to describe how you can practice the descent in bar 22.

Practice without the pedal.

First, practice playing the interval from D# to B (5 to 3).  Since the interval is slightly larger than a third you need to move your arm slightly to bring your finger into position.  Start by playing D# to C so you can feel how it needs to feel to your fingers.  Then practice D# to B, making sure to use your arm to position your finger without stretching.  Alternate playing to C and then B so you are sure you have the right feel.  The goal is to practice moving your arm the correct distance to get into position so your finger doesn't need to stretch.  Playing the A shouldn't be a problem so you can play it immediately after the B if you wish.  You can practice this way separately on each octave the arpeggio is played.

Next, practice the interval from A to B (2 to 1).  This interval is quite large, but to your fingers it should feel as if you are playing from A to G.  Again, the way you do this is by moving your arm.  Start by playing A G, which is the normal interval.  This is how it should feel.  When playing large intervals from the direction of 5 to 1 ( descending for right hand, ascending for left) start by playing the first note.  Then rotate the wrist slightly towards the direction of the 5th finger, then when you rotate back bring your hand slightly upward as if you are going over a tiny hurdle.  This all takes place while you are holding down the first note of the interval and is one fluid motion.  Then move your arm to position your finger and play the next note.  When done properly you can play large intervals that sound legato to the ear despite the jump.  The rotation of the wrist becomes smaller and more efficient with practice, which is necessary when playing this etude up to tempo. Play A F, first rotating, and then moving your arm to position your finger. Next play A E, A D and so on until A B.  Make sure you can play each interval accurately before widening the interval.  Continue to play A G intermittently to make sure it feels the same to your fingers.  Again, practice this way for each octave.

Use the same principal when practicing the rest of the etude.  When playing an interval in the direction of 1 to 5 don't rotate the wrist first, rather simply move the arm horizontally into position.   Always play the "normal" interval so that you know how it should feel to your fingers.

On bar 30 I use  5421 but this fingering isn't set in stone, I just find it easier.  Take care to keep your accuracy when playing black notes.

In bar 31 I personally use the fingering 1235, using the same technique I tried to describe above.  This is perhaps the hardest measure of the etude because the the large intervals.  My teacher strongly recommended the fingering of 231 3231 3231 3231, which is a great alternate fingering.  I chose not to use it simply because I have a weird OCD thing and it bothered me but it really is a good logical fingering.   If you use this fingering make sure to rotate your wrist when bringing your thumb under just like you would when playing a scale.

To practice bar 35 spend extra time practicing just the 4 to 5 interval, making sure you land solidly on the C# every time.  Land on the note before you play it to ensure accuracy. Compensate with your wrist for the difference in height between the black and white keys.  Make sure to practice this interval on each octave.

Phew, so I did my best to describe what hopefully might help.  Definitely ask your teacher for help as well because it is so much easier to be shown rather than told.  I hope it was a bit helpful and not too confusing.  This is just the way I was taught so others may have a different way or disagree.  I can't say this is the only way out there, just what has worked for me as well as my teacher.  This etude requires a LOT of grunt work, practicing interval after interval for hours on end.  It's extremely satisfying when you are able to play it well.  Just don't drive yourself crazy 

Sorry if I was confusing.  Good luck with your practice. 

[evitaevita]

Hi,

Thank you sooooooo much for your time and assistance! 
You really helped me and I think that I understood what you said well, so you didn't confused me! 
I'm looking forward to practicing and playing this etude well! Because, although I've managed to play the rest of this etude with speed and spirit, I usually mess up those passages...

All the best,
Evitaevita