No. 4

Rather than offering performance tips for this etude, it's quicker to list common mistakes. The following three points are typical:

• Slow tempo
• Not using the pedal
• Muddy pedaling

First, regarding the tempo, the score indicates a dotted quarter note at 132. Personally, I would prefer at least around 140. The pedal is indispensable. You should change the pedal every time the bass changes, so generally, change the pedal once every two measures and hold it until the next pedal change. In the B section, there are also places where you must change the pedal twice per measure, every time the chord changes. Furthermore, muddy pedaling can be fatal. Please be very careful to avoid muddiness.

Next, I will share tips on how to perform this piece without it sounding flat. First, take a broad view of the piece, decide where the music should lead, and gradually build tension towards that point. Measure 25 is the B section, and it's likely correct to aim for this measure from the beginning. Assuming measure 25 is the goal, I will discuss the process of reaching it.

If you follow the chords from measure 13, you'll notice that the tension gradually increases:

• A-C-E (13-14)
• A-C#-E (15-16)
• A-D-F (17-18)
• B-D-F-G# (19-20)
• D-F-G#-B (21-22)
• F-G#-B-D (23-24)

Of course, you can achieve this by gradually applying a crescendo from measure 13, but the challenge lies in how to handle measures 1-12.

There are two approaches:

• One is to gradually crescendo through measures 1-12 and then reduce the volume once at measure 13.
• The other approach is to reduce the volume once in measures 7-8. Measures 7-8 feature the D-F-A chord, which is the tonic chord of this key. Since measures 3-6 feature the A-C#-E chord, which is the dominant chord, this approach considers measures 7-8 as a resolution. Either approach is acceptable.

Regardless of the method, when you reach the goal at measure 25, try to maintain the tension. The marking 'p' is written at measure 27, and some performers already drop the tension there. However, measures 25-31 are at least the strongest part, so it's important not to drop the tension immediately. In particular, the B natural in measure 30 is an important note and can be emphasized. Since measures 32-38 are essentially measures 25-31 an octave lower, reduce the volume here compared to measures 25-31, further reduce it in measures 39-40, and arrive at 'p' in measure 41.

Proceed similarly thereafter.