A collection of 10 etudes, subtitled "Exercices-Etudes pour piano." It is dedicated to Madeleine Giraudeau-Basset, with the inscription "with gratitude and fond remembrance." Giraudeau-Basset was a pianist and educator, whose students included François-René Duchâble. As Damase's etudes for piano, this collection is positioned one level below the highly advanced 8 Études (published in 1977).Czerny's Etudes Op. 740 (latter half) to Op. 299, it contains many difficult passages comparable to the 8 Études. Notable features of these etudes include the absence of tempo markings and the omission of dynamic markings and articulations in most parts. It can be assumed that flexible utilization is expected, depending on the performer's proficiency and purpose. Furthermore, the technical challenges for each piece are not as strictly pursued as in the 8 Études; it is worth noting how the challenges and musical ideas flow freely. This results in a comprehensive and multifaceted stimulation of the five fingers, rather than ending in a monotonous routine. It is also interesting to view this collection as an integration of the essence of Damase's pianism, who continued to give lively performances on stage throughout his life, even after establishing himself as a concert pianist for an era. It goes without saying that it is beneficial as a supplementary textbook for learners who have progressed to the development and expansion stages.

Individual Etudes

• No. 1: A minor, 2/4 time. Five-finger independence, polymetric, arpeggios, sustained notes, chromaticism.
• No. 2: G major (no key signature), 2/4 time. Chord playing, alternating hands, hand crossing.
• No. 3: C major, 2/4 time. Double-dotted notes, connection of chords and single notes, double notes, chord playing, arpeggios (contrary motion in both hands).
• No. 4: C major, 2/4 time. Octaves, broken octaves, trills, appoggiaturas.
• No. 5: F major (no key signature), 3/4 time. Arpeggios (contrary motion in both hands), sustained notes, chromaticism.
• No. 6: G major (no key signature), 2/4 time. Sustained notes, arpeggios (including double notes), chord playing, hand crossing.
• No. 7: C minor (no key signature), 2/4 time. Chromaticism, sustained notes, arpeggios, leaps, double notes, trills.
• No. 8: A minor, 4/4 time. Broken second intervals, five-finger independence, sustained notes, chromaticism, arpeggios.
• No. 9: C major, 6/8 time. Octaves, sustained notes, hemiola, chord playing.
• No. 10: G major (no key signature), 6/8 time. Cantabile playing, sustained notes, trills, double notes, chord inversions, repeated notes, chromaticism.