yeah I’ve heard him do this before. It’s a skill most concert pianists can do.
haha I dunno wut to think about diz zheeyat zum tranzpozed zheeyat zound juz mo natural but pozz da 
did lyk da feelin of a bit weirdah keyz
That’s about as unsubstantiated an example of groundless conjecture as I can think of.
10/1 in Bb would sound ridiculous. As would 10/5 in E. 25/3 in Eb would sound particularly ludicrous.
Why, Wild Earl, why??
Why indeed. Frankly, I’ve never been convinced by HIPsters, even if in Chopin’s time the tuning was different. The harp etude sounds just plain bad in F sharp.
Why would it sound bad? First of 99.99999999999% of all musicians wouldn’t have heard the difference.
First, I didn’t say those examples would sound ‘bad’; I said they would sound ‘ridiculous’ or ‘ludicrous’, which are both instances of hyperbole for ‘strange’.
Second, I would contend that they would indeed sound strange. It is well established that even to listeners who lack absolute pitch, different tonalities have different sounds. The classic example is of course Schubert’s Gb Impromptu, which was published in G major. To me, and to many, many others, Schubert’s Gb Impromptu does indeed sound strange when played in the key of G. In the same way, the examples I listened would similarly sound strange.
yes, even though I do not have absolute pitch, I do hear a difference between keys, and even when humming a piece, I somehow do it in the original key, I just can’t imagine it otherwise.
Hm, I don’t know what hyperbole means, but ridiculous has for me a negative context, while strange can be both positive and negative.
are u kidding me? I’m sure not too many people cannot hear the difference…
for one, it uhhhmmm…just sounds different…two, it changes the context and character of the piece…and three its just not the same sounds ur used to!
are people deaf?
to be fair, you can get used to sheeyat in da wrong key. It juz takez a while.
transposing da chopets is bout as useful as tits on a bull…
I’m sure you could get used to it; though the ‘effect’ of the piece would surely be different. 10/1 in Bb would never sound as ‘grandiose’ or as ‘awe-inspiring’ to me as it does in C.
Adam Gokart (spelling?)
claimz he can play all chopet in any key
“I can find a good use for tits on a bull”
bleh… anyone could do that for the first bars, i wonder if he could transpose 10/4 or 10/7
and i totally disagree with the new keys. da old Chop choose wisely every key. That makes me believe he had perfect pitch. Just the exact keys to every sheeyat he composed.
respec da
: tru
Dude, Wild could play through 10/4 or 10/7 in pretty much any key. He’s a legend at that. I’ve heard stories of him randomly playing the Goldberg variations all in random keys.
I doubt this…I randomly doubt if he can really perform first 2 chopin etudes at the normal keys at the correct tempo 
Now the real trick would be ‘transposing’ the Etudes (or other pieces) into other harmonies - 10/1 in C minor, or 10/4 in C# major. 
Why stop there! 10/1 in C dorian… 25/1 in Ab lydian… 
Heard MT play 1021 in C# major and 10/2 in Bb minor (up to tempo); I played through some of 25/6 in G major just to fuck with this guy once.
koji
hahaha da COMME official concenzuz -
tranzpozizion iz a ZKILL dat reveal a TRU GENSUI COMMAND ov da 88
n da uze iz 2fold - to gain widah tech n command ov da 88, n to make da piecez zound different
tru, moz vil zound a bit worze, but at leaz tiz different, n a unique experience, which zhud alwayz be encouraged 
da pitchz back in dem dayz wuz fucked all ovah, n da WILD iz correctly, da HARDCORE BAZZ helpz many piecz 