This is a piece that I've been working on on my own over the summer. It's my most favourite Chopin piece. Of course it's only the first two pages, the rest is still out of reach for me, but I've worked hard at this little bit and love playing it. I'm THINKing I may play it for my teacher next week but I'd like to hear a good critique first - don't hold back.....to prepare myself.... I know he'll pick it apart. I will say that it's harder to play on an acoustic because pedaling is so important and the digital's pedal is not nearly as sensitive as the acoustic's. Please have a listen.


Chopin\'s Etude Op 10 #3 (first little bit)

I see you already know about the pedal problem.

That D# and B (second beat, measure 8, right hand) needs to be softer.

Start with measure 14 as soft as you can so you have room to build up the crescendo to measure 17. Note that "ritenuto" and "con fuoco" in measure 16.

I notice you jumped from measure 20 to the end of the piece.

I'm just an amateur hack but I'll throw in my 2 cents as I love this piece.

Your dynamics need some work. I agree that the D# and B in measure 8 (actually it's 9 in my book) seems a bit harsh. Also the crescendo in measure 18 has this big pause where you really need to keep that G# and B moving smoothly. I like the way you end...very soft and gentle. Wait until you get to some of the fast stuff later on. I've been working on this for at least 3 years and still don't feel comfortable with some of it. Nice job!!!

Sandy, listening as someone who just enjoys piano music and not knowing much at all about classical music, I thought it sounded very good. I would bet 99% of the people who would probably ever hear you play that in person would be impressed as I was! I guess perfection would be nice, but not always absolutely necessary in my opinion...not that my opinion counts for much!

It's one of my favorites, too. In fact, I have a "watered-down"...I refuse to say, dummied-down arrangement that I have been playing for years.

I play it almost everyday, and I NEVER get tired of it. I think it's because Chopin's music always seems to find a different nerve to touch, so to speak.

I am far from an expert, and I would not even presume to give you a critical remark. The only thing I can hear that might not meet with your teacher's approval are the parts where you hesitate and the notes you stress too loudly.

This is a piece (in my opinion) that is mostly nuances. Some notes/chords are played just a tad more forceful than the others.

I do like the way you play the "con forza" measure. You've managed to keep the Ab softer than the upper notes of those chords (I have problems with this).

But I did think you have done an admirable job, Good luck on the next portion. I wouldn't touch that (at least now) with a ten foot pole.

I hope your teacher will like your performance.

Kathleen

I think your teacher will be thrilled to hear it. There's heart, and feeling, and soul in it and any good teacher will hear that and be so excited with you

What a great start you've made on this lovely piece! One suggestion might be to work on your legato touch and phrasing -- so that it flows more smoothly. Overall, terrific job!


Sophia

Hi Sandy,
This too is my favorite Chopin Etude. This is one of the pieces I long to learn in the coming year (I'm currently working on the D flat Nocturne - my favorite of them all) . Outside of the pedalling and dynamics mentioned, you are really off to a great start. I'm sure that your teacher can help you, but I doubt if it really needs to be "picked apart" too much.
Keep up the great work!
Best regards,
Roger

Only count from the first full measure as 1. The b doesn't count as a measure.

Thanks Sophia, Do you think it would help to practice without pedal? Perhaps I'm cheating the legato by depending on the pedal to much?

Thank you everyone for listening and for your comments. I'll take these suggestions and work on them this week. I may even get up the nerve to play it at my next lesson!

Yes, I think it might help to practice without pedal to develop your legato techniqe-- then add in the pedal as needed.

Sophia

Sandy, very nice! This is one of the most popular pieces in Japan, I hear it all the time, on all kinds of instruments, in all kinds of setting. But, I have never tried it myself and although I have the score, I've never really even read it. So I don't have too much to comment on, except to agree with Sophial and others, you will surely benefit from practicing without the pedal. Thanks to my current teacher, I finally got into the habit of making pedal-less play part of my practice routine, and it makes big difference.

Also, I think of the beginning of this piece (mainly what you've played here) as being a little more fragile, if that makes sense. You're playing the notes (and quite well) so now make it your own, feel it and play with it. Don't worry about making mistakes. See what happens. Imagine that you're cradling this music in your hands, the way you might cradle a beautiful dried flower, trying to make sure it didn't crumble.

Someone mentioned smooth, and I think you should try to focus on bringing that out, smooth and gentle, fragile but flowing...

Sorry, my comments are not very helpful, but I think you're at a great place with this and I look forward to hearing more!

Oh, and definitely, play it for your teacher at the earliest possible opportunity! You will likely get some pointers and insights that will assist you in moving on to the rest of the piece as well.

Wow, how nice to hear this piece played by a fellow beginner. This is a piece I have been working on for 18 months and I still have a ways to go. At the outset, I listened to a recording and thought it sounded fairly easy -- how little I knew

I agree with the other comments here.

The beginning should be softer (it is marked 'p' in my score). Also I feel the bass needs to be lighter to allow the melody more space. These are both things my teacher (who is also my wife) picked up on in my playing. And I'm still working on them

I never knew that. Thanks!

Very, very nice Sandy.

The smoothing out will come in time, as you become more comfortable with the piece and its rather wierd fingering.

I'm not sure if it's my speakers, but I'm not hearing the quarter note G# in the right hand in measure 2 and measure 10. I'm only hearing the E.

So it sounds like the melody is B-E-D#-E-F#-G#-G#-F#-E.

It should be B-E-D#-E-F#-G#-G#-F#-G#.

Maybe hit the G# harder with your little finger.

Again, it's comming along fine.

Mel

Thanks again everyone for your most helpful comments. This piece certainly strengthens those weak 4th and 5th fingers!

I've been trying it without the pedal...it's hard!!! so I guess I really am over using it :rolleyes: .

I think I WILL bite the bullet and play it for my teacher on Thursday. He will be able to see as well as hear what I may be doing wrong and I'll look forward to his help with this....I think.....he's REALLY picky!! Once or twice I played a piece for him that I had been working on on my own and I ended up working on it much longer than I wanted to - to "polish" it. I was kind of sorry I showed it to him. Sometimes I can be happy with "less than perfect." My recital piece (Le Soir) is one of them.... (shhhhh). This Etude, however is a piece that I will definitely want so some day finish and have polished to keep in my "repertoire." It's one of my ultimate goal pieces :3hearts: , so I'm happy to work tirelessly to get it right.

Well, no technical remarks from me, it's all been said, I think. Just that I closed my eyes when I heard it - so beautiful and you do it justice.

Patty

Sandy, I'm like rocky--virtually ignorant about playing classical music, so I have no criticism to offer. But I will say that I think this is a piece you can feel proud to show your teacher. It sounded lovely.

I once read that, above all other composers, Chopin's music is the most widely recognized throughout the whole world. And the most loved.

This etude is, if not the most popular of his pieces, is pretty close to it.

I think slaving away (I can only imagine the amount of work involved in learning this piece) will give you hundreds of hours of joy and an immense sense of accomplishment.

Once you sit down at a piano, where ever it might be, and begin to play this etude, I can guarantee you that everyone around will cease what they are doing, to stop and listen.

It's pure gold.

Kathleen

I am incredibly impressed with the sounds you are making. they were beautiful. I do not know the piece and I can hear the pedal but I think it is amazing the beauty you are able to deliver. Congratulations. And yes I do know what you mean about having a teacher pick it to death. But why not? it keeps us humble. Happy

I finally played this for my teacher. It went pretty good......mistakes of course (mostly with pedal and dynamics - a couple of wrong notes.. )....I had a backup tape from my
practice session in case I totally froze, but he was pleased and we are going to work on it together. I'm looking forward to his help with this first part and maybe we'll even begin a little more sometime this year. Thanks for encouraging me to play it for him. I'll post it again when it's "all polished" !!!!!

Well done Sandy. Your teacher should be thrilled that you took this piece under your wings of your own volition.
Best regards,
Roger