No. 1 Allegro C major

Etude for consecutive double notes. The compositional style of placing the melody in the well-sustained middle register rather than the high register was favored by contemporary pianist-composers.

No. 2 Moderato A minor

Etude for hand leaps and double notes in 4ths, 5ths, 6ths, etc. The end of the middle section, which transitions from E major to the tonic key, involves rapid hand crossing.

No. 3 Allegro  E minor

Etude for consecutive thirds, octaves, and arpeggios. The theme is initially placed in the middle register, but is presented in octaves from the second time onwards. A light, serenade-like piece sung over an accompaniment reminiscent of guitar strumming.

No. 4 Allegretto grazioso  D-flat major

Etude for playing melody and accompaniment simultaneously with the right hand. Vivid contrasts are created through rich modulations and dynamic contrasts.

No. 5 Moderato  A-flat major

Etude for tremolos in octaves. The theme quietly emerges from within the tremolo mist. In the middle section in A minor, both hands rapidly move back and forth across two octaves, alternately taking turns playing the melody notes placed in the middle register.

No. 6 Allegro  A minor

Etude for various consecutive double notes. The left hand is assigned agile scales and arpeggios. In contrast to the dramatic main section, a lyrical melody appears in the middle section in A major, serving as an exercise in differentiating melody and accompaniment with each hand.

No. 7 Molto lento  B major

Etude for differentiating multiple voices with the left hand alone, and for agile scales in the right hand. In the first half, played by the left hand, a magnificent theme is presented following an introduction. In contrast, the middle section becomes a right-hand scale exercise, moving lightly across a wide range.

No. 8 Moderato  F major

Following a polyphonic introduction, a simple song is played.

No. 9 Allegretto agitato ma non troppo presto  D minor

A Russian-style theme played in the low register is accompanied by arpeggios in the right hand. In the middle section, the left and right hands alternately take turns playing the melody in the middle register. The theme returns powerfully in octaves.

No. 10 Allegro  B-flat major

Etude combining octaves with thirds and fourths. The melody is skillfully woven into an arabesque of notes played with crossing hands.

No. 11 Andantino  A-flat major

Etude for playing a melody in the middle register surrounded by arpeggios. The theme, which returns after a rapidly modulating middle section, increases in difficulty, accompanied by three-note arpeggios with double notes.

No. 12 Allegro  B major

Etude for trills. Improvisatory sections in 4/4 time and sections with a clear melody in 6/8 time are alternately arranged. In the 6/8 section, the right hand plays trills while simultaneously carrying the melodic line.