Chopin etude op 10 no.1

[tomer132246]

Hey, new here.

recently started working on Chopin's etude op 10 no.1, rather simple so far, my only concern is as follows, I'm using the fingering [first bar, and also some others with the same fingering]: 1235 1235... instead of 1245 1245 [CGCE repeatedly, as written], is that acceptable?, would i encounter any issues when i'd wanna boost the speed up to higher levels?

* I have a rather large hand, span 12th (C-G when stretching).
* English is'nt my main langauge, sorry for any mistakes.

Thanks for helping in advance  

[stevensk]

I think 1245 is MUCH better. But fingering is individually...to some degree

[tomer132246]

I think 1245 is MUCH better. But fingering is individually...to some degree

thank you for replying, guess i'll change i thn, waiting for more comments though.

*just curious, what is your hand span?

[coda_colossale]

Hi! I have too today decided to try my luck with this piece, though it is quite a bit of a jump from my current repertoire. I use the suggested fingering and find it to be the most comfortable.

I also have a few questions:

How fast can you play the arpeggios in bars 1-16? Did getting one arpeggio up to a desired speed, at least to a speed that is not too far away from the metronome marking of Henle Edition, automatically ease the process for the others or does one have to work for each one individually?

I have read somewhere that displacing your hands is easier than stretching them. What do you think about this?

PS: I can span a 10th.

[stevensk]

thank you for replying, guess i'll change i thn, waiting for more comments though.

*just curious, what is your hand span?

I have never thought about handspan. I dont think that is important att all. I have seen very very good pianists whith really small hands playing great! (for example Yuja Wang, Aimi Kobayachi, etc)

[mmm151]

Hi,
I can finally play this piece at an acceptable tempo after many hours of trial and error practice. I can only span a 9th, so it is not necessary to have a big hand. Rather, as Chopin often requested of his students, you need a supple hand. Also important, is articulate finger-work and appropriate arm and hand gestures. Ultimately, the arm choreography takes the fingers to the notes, not the fingers stretching from note to note.

For accurate, clear finger-work I played the RH notes slowly with rotation (as in turning a doorknob). Rotation brings the fingertips from above the keys which helps articulation. It also prevents stretching from finger to finger by bringing the arm behind each playing finger. Because rotation is a natural forearm movement, it prevents tension and fatigue, the enemy of fast speed. I also played the RH with fast short-long and long-short rhythms to facilitate speed, but make sure you take the thumb with the other fingers when they play, ie don't leave the thumb stretched over the first note of each group. Also be sure to relax for an instant on the long pulse of each rhythm to prevent tension.

For the arm gesture, begin each RH 4-note group with a high wrist and arm position, then drop down into the first note and then gently press the arm and hand down to its lowest level (this is called grounding), then as you play the remaining notes in the group, move the arm and hand laterally to the right then up on the 5th finger.

 Descending, the shape is down with grounding as before, then up and over to the left.

I also had to do this complete routine on every arpeggio, because each one has different intervals.

In the end, you will know when you can play gradually faster, as a sense of naturalness and ease will facilitate the playing.

I know you didn't actually ask for help with learning to play this piece, but I wanted to share what worked for me with all those who aspire to conquer this elusive work.

Cheers, mmm151

[mohab95]

Barely spanning a 10th, I'd stick with the fingerings on the score, at least they did the trick for me although I still did bump into a few awkward bars. Chopin himself didn't have a gigantic hand span I believe, but it was said that his hands moved "like a rabbit" implying velocity and flexibility. I think this etude is what it's all about. Heck small handed pianists such as Ashkenazy had no problem performing this etude in an excellent manner.
So I guess it would be cheating to use the advantage of your hand span for the etude 
Just kidding! 

[pianoman8]

Tomer,
This etude has next to nothing to do with hand size/finger length, or whatever else the term may be. This etude has all to do with a supple wrist, relaxed forearm, no tension, using similar movements for passages, and articulation. That's what I can think of off the top of my head. By using the forearm, hand, and fingers, correctly one do a good job with this one. For correct use of the previously stated things, you should use 1245. 1245 also allows you to get more power and control with a relaxed technique than with 1235. Make sure to practice the top notes (4-5), or C and E in the first bar forte with high fingers. Be careful not to put too much stress on you"re weak fingers (345), and take breaks! Good luck, and feel to private message me as I'd be happy to help.