No. 1 Allegro C major

Etude on arpeggios and a lyrical melody. Rapid arpeggios spanning two octaves appear alternately in the left and right hands. As the high notes of pianos at the time were difficult to sustain, it was preferred to place graceful melodies in the middle register.

No. 2 Presto non troppo D minor

Etude on rapid chord repetitions. The incessant sixteenth-note rhythm evokes a mechanical motion, like a steam engine. This piece seems to symbolize the developing industrialized society.

No. 3 Presto C major

Etude on broken chords and double notes. The left hand plays an accompaniment figure with large leaps. The melody is consistently placed in the middle register, and its color changes successively through skillful modulations.

No. 4 Lento F major

Etude on double notes and repeated notes. The right hand simultaneously plays the melody in the uppermost voice and a secondary melody of repeated notes accompanying it.

No. 5 Allegretto con grazia D minor

Etude on leaps. The hands strike notes spanning more than an octave within a single beat, as if turning the palm over. The same figure appears alternately in both hands.

No. 6 Allegro quasi presto B major

Etude on playing chords with dotted rhythms. The middle section modulates to G major. The entire piece is composed solely of chords, yet it is splendidly developed through modulations. The rich variety of harmonic successions testifies to Ravina's outstanding inventiveness and the solid theoretical foundation supporting it.

No. 7 Presto non troppo e leggieramente C major

Etude on ornaments. After charming ornaments resembling bells, difficult leaps occasionally appear, spanning more than an octave.

No. 8 Allegro di bravura F major

Etude on the repetition of broken chords including double notes. This accompaniment figure appears alternately in the left and right hands, and finally both hands play the same figure.

No. 9 Moderato D-flat major

Etude on playing parallel arpeggios with both hands. Given the symmetrical structure of the hands, it is easier to arrange broken chords symmetrically, as Chopin demonstrated in Op. 25 No. 1; however, Ravina deliberately chose arpeggios moving in the same direction.

No. 10 Allegretto agitato B-flat major

Etude on playing arpeggios with an extended left hand and broken chords with double notes in the right hand. The middle section shows deviations to more distant keys, primarily G-flat major and A major.

No. 11 Moderato E-flat major

Etude on rapid hand crossing. The melody is played alternately by the left and right hands, one note at a time. Despite the charming melody, it requires technique and concentration to strike the notes accurately.

No. 12 Allegro moderato A-flat major

Etude on right-hand triplets with double notes and left-hand leaps and double notes. Approximately 10 melodic patterns appear successively, modulating, within a consistent rhythmic pattern.