most valuable chopets?

pozz a ps question, but i never intend to play all the chopets (skipping all the slow ones, for one) and only plan on really concentrating on the “most valuable ones”, and etudes by other various composers. so which are these according to you? For example 25/5 is really a damn beautiful etude (probably my fav) but i don’t get the entire study-part in this etude. And i’m really not into singing legato- or expressiveness-etudes. I prefer other pieces to do that

just for the record, i’ve (only) done
10/ 1, 4, 5, 7, 8, 12
25/ 1, 2, 6, 9, 10

I was thinking on doing 10/2 and 25/11 as soon as possible as well, and then just read a couple more after that and eventually learn them all possibly. But of the ones that are left, which are really the ones I must have played

If you can play all the ones you play really well, then you’re already a hell of a pianist.

tru ANIMA go wit tha 6th partita inztead 8)

cunziderably mo uzeful than than tha coldfart id imagin :whale:

but 10/2 iz 10/2 :chop:

da sub is right.

would you dare playing 10-1 or 10-2 when someone asks u to play?

if not, then u still got work to do.

well as most of you probably know, once you tackle a work that seems really hard to you at first, it feels as if it’s not enough. first i was like “holy shit, mephisto waltz”, and now it’s just one of those pieces i’ve played.

same with all these etudes, i just want to get those that will help me the most, and even though i’ve already played all those well, i hardly feel like i’m “one hell of a pianist”

10/1 isn’t as hard as i thought it was, perhaps because i’ve waited this long before i actually started it (it’s the last one i learnt so far), because i was so ‘scared’ of it. i’ve done some good preparatory exercices too.

and tru, i pozz need to play bach, i’ve played 3 p&f’s and that’s it :blush:

Lol, the fact that you say you’ve “only” done like 11 of 'em is pretty far out, man. There’s no rule that says a pianist should play/perfect “all” Chopin etudes. It’s simply question of what music inspires you. 8) Whether that be Chopin Etudes, Rachmaninoff Preludes, Alkan, Scriabin,…whatever. Just have fun.

PS; we know you’re a talented pianist, and given that you play practically the hardest chopin etudes…seems manifestly obvious that you’re likely a competent judge of where to go next.

I’ll agree. I memorized the thing in like 4 hours and after that, it’s really just a matter of playing it like 1000 times to get it to fit your hands.

10-2 is the one that scares me.

do it in Csharp major with the same fingerings :stop: :stop:

tru, i wuz planning on doing that 8) . i’ve also learnt the first page so far mirrored for the left hand. sounds … special :slight_smile:.

and sub, even though i might play the hardest ones, i still hardly ever have a clue on “what to play next”.

I’ve read through the right hand of 10/2 a couple of times. it really doenst feel like something i could ever play fast, even after 25/6 and how everyone says they work well together. my ass works well together.

da zepp famouzly claimz da 10/2, 25/6 und da Coldfart are practically da zame thing

but den again da zepp iz da zepp :stop: 8)

ocean etude, the comme version

iz u trying to say ur standard is different from uz?

8) i just dont think zo.

if you’re an advanced pianist, winterwind is pretty much a requirement… not for any abstract piano tribunal but just for your technique.

have fun with 25/11

really, it’s a blast; but a pain in the ass.

Valuable? Technically, all of them if you learn them the correct (or a natural) way.

I’ll think about this when i’m not semi-drunk.

Actually, I heard that a pianist in Nelita’s studio at Eastman is able to play all 25 Chopin etudes in all keys.

That fucka

Also, randomly, I feel the same way about 10, 1…

BUT I learnt it at an opposite time of you; it was my first etude… I played it at nearly the original marking, but my hands are really bizarre; not particularly large, but the fingers stretch horizontally in strange ways… that may have something to do with it.

Thirds is still the most difficult for me.

And yeah, finally,

I just wanted to say that if you haven’t played much Bach,


you will learn a ton from that 2nd partita, or any partita for that matter.

The Toccata’s are a blast, and have a variety of textures/versatility as well. Bach is an amazing combination for the brain to tackle; insane fingerings, memorization, long phrases in several voices, dance rhythms, and articulation/correct pedaling (if you pedal bach).

10/1 turned out to be a fuckload more difficult than i thought, I’m still working on it. I could just play it at an ok tempo rather fast, but then the problem came once I started playing it for my teacher and other people :frowning: .

I’m sorta in love with the 6th partita but I’m thinking tiz a bit too hard. But tru, I should learn a “long” Bach work.

I’ve always half/quarter-pedalled Bach; connect tones but not make the overtones sound through. VERY interesting to work with.

I’m doing 25/5 and 25/11 next, 5 to have something a bit different from all that uberfast heavy finger work, and 25/11 cuz like you said, it’s a necessity.
I’m thinking redoing 25/6 now that I’ve finished practicing my double thirds scales dohnanyi style :slight_smile: