Etude No. 1

The musical idea of this etude is almost certainly based on No. 1 (Prelude) of the 3rd edition. It proceeds with a flamboyant yet light and fluent character. As this work was composed when the composer was still influenced by Czerny, Czerny's etudes themselves might be helpful. However, I would like to highlight the difficult passages that I imagine performers might encounter.

Measure 5

In the right-hand passage of measure 5, there is an unavoidable situation where fingers 4-5 must be used. The marking is p, leggiero, so it should be played as such, but this is a spot where issues with evenness of tone might arise. In the score I own, the fingerings for the three notes G F# G (excluding the first E in the bass clef) in the first beat of the right hand, and D# E B C in the second beat, are 145 (for the first beat) and 2314 (for the second beat) respectively. However, these fingerings are very difficult for me, and I have changed them as follows:

• First beat: 145
• Second beat: 3423

The problem lies with the 2314 fingering in the second beat. Even if one were to concede that this is acceptable, it makes connecting to the F# in the third beat extremely difficult. I find 3423 to be much easier. Please try it.

Measures 9-10: Broken Octaves

The next difficult passage is the broken octaves in measures 9-10. In fact, this section can be quite challenging if one lacks muscle strength. Fortunately, the broken octaves themselves are on white keys only, which is easier than if black keys were involved, but it's still very difficult at a fast tempo. Therefore, I recommend Hanon No. 56 and Clementi's Gradus ad Parnassum No. 28. These exercises are truly demanding and will make your arms quite tired. However, this is also the process of building muscle, so consider it medicine and do your best. For these three measures, it is advisable to play the lower note of the chord on the fourth beat with the left hand.

Measures 11-13: Right-Hand Passage

In measures 11-13, the right-hand passage features a sustained note at the top, with the melody below it. For example, in measure 11, place finger 5 on the top E. In that position, try playing only the melody notes forte. Once you get used to it, try playing it quite fast. Of course, in this case, the E is only held down and not actually played. Once you can play only the melody notes quickly, accurately, and evenly, then try playing it normally as written in the score, using a quick, rotating arm motion, as if turning a doorknob, and also utilizing your wrist.

Measure 17

The next difficult passage is measure 17. In measure 16, the right-hand passage consists only of white keys and is within an octave, so it's manageable, but in measure 17, from the second to fourth beats, black keys are introduced. This makes it more difficult. I believe the third beat is particularly challenging. For practice, try playing it without using finger 1. There should only be two notes per beat. Therefore, for beats 2-4, you should repeat the fingering 5-2 for G B, F# A, F A#. When practicing this, it is important to hover both the unused finger 1 and the notes that are actually to be played above the keys. For example, when practicing F# A with 5-2 in the third beat, hover finger 1 over the lower F#. This is because that angle is the one at which the notes will actually be played.