No. 12 in C minor

Some competitions and examinations may instruct participants to omit this etude. Presumably, this is because extensive pedal use can obscure the clarity of individual notes, making fair judging difficult. The key to performing this piece is to aim for utmost clarity for the listener. Rather than merely playing indifferently, a thorough understanding of the form will make the performance much clearer. Let us explain from the beginning.

From measures 1-7, each measure contains only one melodic note. Specifically, in measures 1-7, seven melodic notes—E-flat, D, F, E-flat, D, E-flat, C—are written with an accent on the first beat of each respective measure. The performer must ensure these notes—E-flat, D, F, E-flat, D, E-flat, C—are clearly audible. In such cases, one might be inclined to think that the F, being in a higher register, should be the loudest in terms of shaping; however, considering the character of the chord in measure 6, the tension is understood to increase towards the end. Therefore, it is also a valid approach to apply a crescendo to E-flat, D, F, E-flat, D, E-flat, C, leading towards the final C. Furthermore, the arpeggiated notes other than E-flat, D, F, E-flat, D, E-flat, C are actually sufficient at around mp. Even with such a reduction in volume, the initial melodic notes must be clearly articulated. A common pitfall in performing this etude lies precisely here: when all notes are treated equally, the performance becomes very unclear and ultimately fails.

Now, once this series of E-flat, D, F, E-flat, D, E-flat, C concludes, an entirely different musical material emerges from the upbeat of the first beat of measure 7. Let us call this Material 2. These notes are C, B, A-flat, G, G, F, F. In stark contrast to what preceded it, this is a sentimental, lyrical, and singing section. It should be played at p or mp, representing an entirely different emotional expression.

From measure 9, Material 1 returns. This time, the tonic chord of the major key appears in measure 12, and the phrase concludes in measure 15 with the same major tonic chord, resulting in a more dramatic ending than before. The melodic line is E-flat, D, F, E, A-flat, G, E. Then, from measure 16, a melody of E, D, F (G) appears one note per beat for beats 2-4, ending on E in measure 17. In measure 18, the melodic line E, D, C returns, reaching D in measure 19, followed by D, C, A, C, and finally, C appears again as the melody in measure 22, concluding with the major tonic chord.

From here, the piece modulates to A-flat major. The melodies from this point onwards are as follows:

• C, C, B, E-flat, C, C, B, A-flat, B, B, A-flat, F, A-flat, A-flat, F-sharp, G, A-flat, C, B, B, C, E-flat, D, D, E-flat, G, F, A-flat, G
• From measure 45: G, G, G, G, G
• From measure 47: E-flat, D, F, E-flat, D, E-flat, C (C, B, A-flat, G, G, F, F)
• From measure 55: E-flat, D, E, F, F, E, F, G, A-flat, G, C, B, A-flat, F, D, G, A-flat, A-flat, G
• From measure 71: E, E, D, F, E, E, D, C, D, D, C, A, C, C, C, D, C, C, C, D, E, E

These are the melodic notes; therefore, ensure they are clearly articulated and apply appropriate shaping.