e-book Arpeggio Etude

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One source of inspiration here may have been the virtuosic playing of the great violinist Niccolo Paganini.

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Shortly after hearing Paganini in Warsaw, the nineteen-year-old Fryderyk informed his friend Tytus Woyciechowski in a letter : "I've done a large Exercice en forme, in my own peculiar way". These works revealed to the world Chopin's epoch-making discoveries in piano texture, pianistic technique, sound, dynamics and compositional inventiveness.

  1. Arpeggio Etude - Around the Chord?
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Each work focuses on a chosen aspect of technique, for example:. With Chopin, however, the technical problem an excellent study for the pianist! Hopefully you and your students can find something challenging and new that will expand your technique and your musical palette.

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  • This etude focuses on working fast arpeggio figures; particularly the p,a,m,i — p,i,m,a pattern. It also features melodies in the bass strings, and on the same string.

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    • This intermediate etude primarily focuses on working fast arpeggio figures, mainly p,i,m,i. A similar approach can be found in other Chopin etudes where you have ascending and descending motion. Thank you all! Hopefully, I made good progress.

      Arpeggio Etude

      I'm not trying to connect each note, not anymore! With my teacher we're working on wrist movements during my playing in general, to avoid stiffness.

      Demillac, Yvon. Arpeggio étude

      So, in order to play the arpeggio fluently upwards and downwards, the wrist should go up and down ascending: down on the thumb and up on the fifth, or fourth whatever. I've noticed that I can manage to keep my hand relaxed in those bars, and in general during the ascending line of every arpeggio. When it comes to the return, going down my hand and my wrist are not so smooth!

      For example: bar 9, the jump F-D in the descending line of the first arpeggio On F my wrist goes up and on D it goes down.

      Arpeggio Etude #1 (sample) - John Nathan Cordy | Soundslice

      Of course at fast tempo the movement of the wrist won't be visible, but still, the hand will be supple. I'm practicing it with only two notes, F and D going through the all keyboard.

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      I think it's common technique used in all arpeggios, but how much rotation should I use to get my fifth finger past "over" the thumb? Or it should be only horizontal movement of the wrist? Anyway, it's not that bad, the tempo is quite there and this work is made to keep everything relaxed during the entire etude and to add strength and smoothness.

      By now, the notes hit by the fifth finger after the thumb, going down has an accent, due to poor relaxation. I'd like to know what are your thoughts on wrist dynamics, not only for this etude!