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183 Tracks Found
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Etude Op.10 No.4 in C#-
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CHOPIN /
Classical Period Romantic,
Classical Piano
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One of the most exciting etudes, it features brutal passagework of single notes close together, with widespread open chords in the middle section. It is also an etude of endurance and velocity with no break from beginning to end.
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Etude Op.10 No.3 in E
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CHOPIN /
Classical Period Romantic,
Classical Piano
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An etude in ABA form, with the A section dealing with blaance and voicing between the hands, and with the B section dealing with widespread double notes.
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Etude Op.25 No.6 in G#-
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CHOPIN /
Classical Period Romantic,
Classical Piano
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Perhaps the most difficult study of thirds in all of piano repertoire.
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Etude Op.25 No.11 in A-
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CHOPIN /
Classical Period Romantic,
Classical Piano
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Also called the "Winter Wind" etude, this monster of an etude features a march-like left hand with a turbulent and very chromatic right hand accompaniment. Jose Iturbi remarks, "The Etude in A minor is about impossible. You can keep it up for a few pages, but for eight pages, who can *really* do that?"
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Etude Nouvelle No.3 in Ab from Methode de Moscheles et Fetis
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CHOPIN /
Classical Period Romantic,
Classical Piano
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A study in two-against-three rhythm, this is complicated by demands for voicing in right hand three-note chords. Balance is difficult to maintain with only single-note configurations for the left hand.
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Waltz Op.18 in Eb
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CHOPIN /
Classical Period Romantic,
Classical Piano
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One of Chopins greatest waltzes, this is a piece with strong rhythms and accents. It also features repeated notes as well as chromatic grace notes and melody, appearing in the middle section and coda. This is a grand waltz indeed, perhaps only to be outdone by Chopins second waltz in A-flat.
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Study Op.740 No.4 in Bb
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CZERNY /
Classical Period Classical,
Classical Piano
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"Light motion in quiet staccato"
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Study Op.740 No.13 in Bb
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CZERNY /
Classical Electronic,
Classical Period Romantic
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"The utmost velocity"
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Study Op.740 No.14 in G-
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CZERNY /
Classical Electronic,
Classical Piano
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"Chord passages"
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Study Op.740 No.16 in C
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CZERNY /
Classical Period Romantic,
Classical Piano
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"Changing the fingers in rapid playing"
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Study Op.740 No.22 in B
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CZERNY /
Classical Experimental,
Classical Period Romantic
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"Trill study"
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Study Op.740 No.26 in A
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CZERNY /
Classical Experimental,
Classical Piano
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"The utmost velocity in chord passages"
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Study Op.740 No.31 in A-
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CZERNY /
Classical Electronic,
Classical Experimental
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"Practice in the passing under of the thumb"
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Study Op.740 No.35 in F
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CZERNY /
Classical Period Romantic,
Classical Piano
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"Changing fingers on one and the same key"
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Study Op.740 No.48 in Ab
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CZERNY /
Classical Piano,
Lively
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"Trill exercise"
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Study Op.740 No.50 in G-
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CZERNY /
Classical General,
Dramatic
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"Bravura in touch and tempo"
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Etude Op.10 No.2 in A-
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CHOPIN /
Classical General,
Classical Period Romantic
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Chromatic scales for 3rd, 4th, and 5th fingers while rendering triads in the same hand.
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Etude Op.10 No.5 in Gb
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CHOPIN /
Classical Period Romantic,
Cartoon
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The "Black Key" etude is a study on the black keys involving rotary action and relaxed wrists with a chromatically melodic left hand.
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Etude Op.10 No.6 in Eb-
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CZERNY /
Classical Period Romantic,
Tragic
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A study in shaping a melodic and line so that it sustains a singing sound from one phrase to the next without sounding forced, all over a chromatic left hand.
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Etude Op.10 No.7 in C
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CHOPIN /
Classical Electronic,
Classical Piano
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A toccata-like study in double notes (sixths and thirds) requiring quick changing of fingers on the same key, combining both beauty and duty.
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Etude Op.10 No.8 in F
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CHOPIN /
Classical Experimental,
Classical Period Romantic
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A study in rapid and extended passagework requiring skillful and controlled placement of the thumb.
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Etude Op.10 No.9 in F-
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CHOPIN /
Classical Electronic,
Tragic
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A study in widespread arpeggiated patterns in the left hand, while maintaining a balance of voicing between the melodic right hand and the supporting left hand. This etude is one of the most accessible etudes, especially for early advanced students and those with big hands.
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Etude Op.10 No.10 in Ab
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CHOPIN /
Classical Period Romantic,
Classical Piano
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A study in alternating sixths in the right hand against wide arpeggiated leaps in the left hand, as well as a study in counter-rhythms that play tricks on the brain. Beware! Hans von Bulow said, "He who can play this study in a real finished manner may congratulate himself on having climbed to the highest point of the pianists Parnassus."
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Etude Op.10 No.11 in Eb
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CHOPIN /
Classical Period Romantic,
Classical Harp
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A study in extremely widespread rolled chords while maintaining a continuously-flowing melodic line, creating a harp-like effect.
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Etude Op.10 No.12 in C-
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CHOPIN /
Classical Period Romantic,
Classical Piano
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Also called the "Revolutionary," this etude is a study in left hand arpeggios as well as passagework, requiring great endurance in the left hand.
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Etude Op.25 No.1 in Ab
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CHOPIN /
Classical Piano,
Classical Harp
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Also known as the "Aeolian Harp" etude, this etude features a smooth, melodic voice in the top note, accompanied by arpeggiated patterns in both hands.
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Etude Op.25 No.2 in F-
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CHOPIN /
Classical Electronic,
Classical Piano
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A study in cross-rhythms and delicate finger articulation.
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Etude Op.25 No.3 in F
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Classical Experimental,
Classical Period Romantic
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As I recorded this etude, constantly in the back of my mind was a galloping horse. Ogdon refers to this etude as "a study in the precise rhythmic values of ornaments."
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Etude Op.25 No.4 in A-
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CHOPIN /
Classical Experimental,
Classical Period Romantic
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A study in staccato left hand leaps as well as right hand syncopation. Hey, wait a minute - does that mean this etude is a ragtime piece? You should be able to hear how much fun I had interpreting this piece.
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Etude Op.25 No.5 in E-
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CHOPIN /
Classical Electronic,
Classical Period Romantic
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Also known as the "Wrong Note" etude due to such spicy (even humorous) ornaments, this etude is one of the few with a middle section. The outer sections resemble a mazurka, and the middle section resembles a barcarolle, with one of the most beautiful melodies Chopin has ever written. This melody resides in the tenor voice, creating a kind of "three-hand" effect.
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Etude Op.25 No.7 in C#-
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CHOPIN /
Classical Period Romantic,
Classical Piano
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Also called the "Cello" etude, this etude is among Chopins most famous works because of the left hand melody, resembling more of a nocturne than an etude.
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Etude Op.25 No.8 in Db
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CHOPIN /
Classical Period Romantic,
Classical Piano
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A study in sixths which can be harmful to small hands if not practiced with care. Von Bulow considered it "the most useful exercise in the whole range of etude literature."
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Etude Op.25 No.9 in Gb
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CHOPIN /
Classical Experimental,
Classical Piano
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Also called the "Butterfly" etude, the main technical problem is this short etude is the alternation of legato and staccato in one hand. Good wrist octaves and endurance are nessesary for a successful performance.
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Etude Op.25 No.10 in B-
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CHOPIN /
Classical Period Romantic,
Classical Piano
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Also known as the "Octave" etude, this fierce etude calls for great endurance in playing legato octaves. The contrasting middle section provides physical and emotional relief, but, as Niecks says, "...hell finally prevails."
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Etude Op.25 No.12 in C-
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CHOPIN /
Classical Electronic,
Classical Period Romantic
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Also called the "Ocean" etude, it is a study of arpeggios in both hands, requiring powerful weight control and balance in both hands. Some say this etude is an "echo" of the Op. 10 No. 1 etude.
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Etude Nouvelle No.1 in F- from Methode de Moscheles et Fetis
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CHOPIN /
Classical Period Romantic,
Classical Piano
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A study of rhythms of three against four, with right hand single notes and left hand arrpeggios. The three against four is difficult because of the distances between notes, where being closer would not present a challenge. This is such a rich tapestry of sound with its murmuring left hand and chromatic right, they compliment each other to their desired end.
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Etude Nouvelle No.2 in Db from Methode de Moscheles et Fetis
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CHOPIN /
Classical Electronic,
Classical Period Romantic
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A study in single-hand legato and staccato patterns. It is very difficult to maintain the legato melodic line with a connected left hand without comprimising the lower staccato notes of the right hand. This piece reminds one of a certain playfulness, and the serenity of harmonies joined together to meet the listener with the innocense of childhood.
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Study No.1 in C (Chopin Op.10 No.1)
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CHOPIN /
Classical Period Romantic,
Classical Piano
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A study after Chopin Op. 10 No. 1 etude in widespread arpeggios and jumps, as well as endurance. Godowskys arrangmement takes Chopins figurations to the left hand, and the right hand is given contrary arpeggios.
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Study No.2 in Db (Chopin Op.10 No.1)
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CHOPIN /
Classical Electronic,
Classical Period Romantic
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A study after Chopins Etude Op. 10 No. 1, for the left hand alone, consisting of widespread arpeggios in both ascending and descending patterns, with slightly different harmonies than what Chopin used.
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Study No.3 in A- (Chopin Op.10 No.2)
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GODOWSKY /
Classical Electronic,
Classical Piano
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A study after Chopins Etude Op. 10 No. 2 for left hand alone, for chromatic patterns in the 3rd, 4th, and 5th fingers and a controlled melody in the thumb.
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Study No.4 in A- (Chopin Op.10 No.2)
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CHOPIN /
Classical Period Romantic,
Classical Piano
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A study after Chopins Op. 10 No. 2 etude. This study uses Chopins original right hand pattern in the left hand with complimenting triads in the right hand. This is further frustrated with triplets in the right. Godowsky creates a game between the devilish dance of evil of the right hand with the whispering conscience of good in the left, settling together where all is at quiet at rest in the coda. Oil and water do mix!
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Study No.5 in Db (Chopin Op.10 No.3)
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CHOPIN /
Classical Period Romantic,
Romantic
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After Chopins Op. 10 No. 3 etude, this etude is for left hand alone. One would have to hear it to believe it. Here Godowsky moves to the warmer key of D-flat, moving and changing harmonies in mood with the key change. This is a great piece for the left handed pianist and seves as a great encore with its soothing mood and style. A must for any serious artist.
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Study No.6 in C#- (Chopin Op.10 No.4)
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CHOPIN /
Classical Period Romantic,
Classical Piano
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A study after Chopins Op. 10 No. 4 etude. Accompaniment and melody join together as one to form a true work of genius for the left hand alone. Nothing is left out or to chance with melody moving wherever it may to create a two hand effect. This study demands utmost endurance, combined with total control and independance of fingers. The left hand truly carries a candle burning at both ends!
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Study No.7 in Gb (Chopin Op.10 No.5)
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CHOPIN /
Classical Electronic,
Classical Period Romantic
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A study after Chopins Etude Op. 10 No. 5 ("Black Key"). The right and left hand reverse roles exactly: All of Chopins original right hand notes were placed verbatum in the left hand, and all of his original left hand chords were placed in the right hand, a delightful alternative to the original.
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Study No.8 in C (Op.10 No.5)
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CHOPIN /
Classical Experimental,
Classical Piano
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A study after Chopins Op. 10 No. 5 etude that is played on white keys, with the left hand executing the original right hand pattern. Godowsky adds contrary harmony and arpeggios in the right hand, making this a true tour de force!
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Study No.9 in A (Chopin Op.10 No.5)
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CHOPIN /
Classical General,
Classical Piano
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A study after Chopins Opus 10 No. 5 Etude ("Black Key"), in which the left hand takes over right hands role on whites in a minor key, with counter melody and harmonies in right hand. This etude is titled "Tarantella".
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Study No.10 in A (Chopin Op.10 No.5)
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CHOPIN /
Classical,
Classical Piano
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A study after Chopins Op. 10 No. 5 etude ("Black Key"). This etude might more appropriately be called the "White Key" etude, since the original figurations are placed on white notes (A major). Godowsky titled the etude "Capriccio".
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Study No.11 in Gb (Chopin Op.10 No.5)
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