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Topic: Comprehensive Technique : Etudes d'execution d'apres Paganini : S. 140  (Read 1777 times)

Offline abel2

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Comprehensive Technique : Etudes d'execution d'apres Paganini : S. 140
on: January 20, 2016, 03:59:19 PM
These etudes essentially cover every possible technique in astonishing difficulty. I can't think of any technique they don't include.
Etude 1: Musicality (even though it's ugly), Tremolos, Double Lines Playing, Arpeggios.
Etude 2: Scales, Ridiculous Double notes, Chords, Octaves, Arpeggios.
Etude 3: Large Chords, Repeated Notes, Leaps.
Etude 4/4a: Absolutely Insane Double Notes, Chords, Octaves, Leaps
Etude 5: Double Notes, Double Handed Passages, Chords, Scales
Etude 6 (Just about Everything): Octaves, Chords, Double Handed Works, Hand Crossing, Large Stretches, Insane Leaps, Arpeggios.
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Offline visitor

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Re: Comprehensive Technique : Etudes d'execution d'apres Paganini : S. 140
Reply #1 on: January 20, 2016, 04:17:43 PM
even if/at face value you would be limited to pieces composed in the style of and up until the time of composition for the etudes. there has been music composed since then with broader musical and technical language that would require greater facility at more novel technical requirements. Especially as impressionism, serial-ism, an non 12 tone (ie polytonic, post modern neoromantic, etc) modern music makes it's progression.

Sam Raphling's two books of modern etudes sought to address these exact short comings of old technical manuals and 'concert works' at exploiting and solidifying an updated technical command of the piano in order to more effectively navigate works into the 20th century.

Raphling, Sam. 24 etudes for piano. New York: General Music Pub. Co, 1965.
*note the recording and scores are pretty rare I own both but have not uploaded anywhere. There's is pedagogy type stuff on youtube but they are way outside the scope of the above. Raphling's 24 etudes and some of the most difficult music I've laid my eyes on.
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Offline abel2

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Re: Comprehensive Technique : Etudes d'execution d'apres Paganini : S. 140
Reply #2 on: January 20, 2016, 05:21:04 PM
Quote from: visitor on January 20, 2016, 04:17:43 PM
even if/at face value you would be limited to pieces composed in the style of and up until the time of composition for the etudes. there has been music composed since then with broader musical and technical language that would require greater facility at more novel technical requirements. Especially as impressionism, serial-ism, an non 12 tone (ie polytonic, post modern neoromantic, etc) modern music makes it's progression.

Sam Raphling's two books of modern etudes sought to address these exact short comings of old technical manuals and 'concert works' at exploiting and solidifying an updated technical command of the piano in order to more effectively navigate works into the 20th century.

Raphling, Sam. 24 etudes for piano. New York: General Music Pub. Co, 1965.
*note the recording and scores are pretty rare I own both but have not uploaded anywhere. There's is pedagogy type stuff on youtube but they are way outside the scope of the above. Raphling's 24 etudes and some of the most difficult music I've laid my eyes on.
Yes, but are they musically enjoyable? Also, do you know if the scores are available? They sound quite interesting.
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Offline visitor

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Re: Comprehensive Technique : Etudes d'execution d'apres Paganini : S. 140
Reply #3 on: January 21, 2016, 02:18:07 PM
Quote from: abel2 on January 20, 2016, 05:21:04 PM
Yes, but are they musically enjoyable? Also, do you know if the scores are available? They sound quite interesting.
i like them, the look 'fun' in some regards but learning them would be a bugger and definitely filled with lots of 'not fun' moments lol . I think they're ultra cool. Su[er rare score far as i can tell. It's out of print. I purchased via an antiques book/used vintage scores dealer  and I got the recording from an LP/vinyl records collector (i am pretty certain they were never released on CD, I am in the process of burning the record to MP3 for archiving as part of a longer term and ongoing personal research project) got book I and II as 'new old stock' from a  music store that closed down a long time ago so these were part of the lot of stuff they liquidated.
I believe several of the more respectable and better reputed music school's with decent research libraries may have a copy somewhere
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