Etude No. 12

This etude, like No. 11, is written in a classical style, and it might be preferable to proceed strictly according to tempo and rhythm rather than playing improvisationally. Nevertheless, one must not forget musical nuances, and important sections require appropriate expression. The theme begins on the fourth beat of measure 4. The goal is measure 28. Having grasped this long journey, one must guide the music towards that point, avoiding a flat and uneventful performance.

The first theme, beginning on the fourth beat of measure 4, first reaches E-flat on the first beat of measure 6, where the tension increases, and then resolves and settles on B on the first beat of measure 8. The second theme begins on the fourth beat of measure 12 and reaches E on the first beat of measure 14; this E is a special note. Express it carefully, perhaps by changing the timbre or using rubato. Thereafter, a sequence follows, with tension increasing each time, leading to measure 28.  Upon reaching measure 28, the series of strong tensions gradually diminuendos until measure 38, where the first theme re-enters. The next goal has even higher tension than the first. Aim for measure 50.

Basically, the triplets played by both hands should have as blurred a timbre as possible, avoiding a distinct marcato. Of course, the pedal is essential. And balance the sound so that the melody line is clearly audible. Regarding the performance of the triplets at that time, in addition to the aforementioned timbre, always create an restless wave. Instead of computer-like precise timing, use some rubato and slightly vary the duration of all triplet notes so they are not all the same length.

By doing so, one can express restlessness or a sense of instability.