Be very careful not to accent the thumb! Op 28. This will result in a little bit of reverb helping the overall flow and legato of both the right and left hand. Although this piece does not have pedal markings, the pedal must still be applied very lightly. 4, but more melodic, and the hands switch roles. The challenge of this piece is to keep interest with so much repetition. This study offers us great control of our left hand, while projecting a repetitive monophonic melody. No 4Ī piece of depression, with a grand cry for help only to be defeated. This study offers us an introduction to fundamental harmonic knowledge in minor and a great way to vent agony, distress, frustration, annoyance, etc. No 20Įxtremely dramatic, with very simple harmonic movement in C minor. The key to this study is learning and playing with simplicity. This piece is as simple as it gets, and in result it is easy to express in an over dramatic way. Technically the easiest prelude, but quite emotionally challenging. He would often tell his students,Īnd would require his students to go and see many operas and other vocal recitals. Everything is based around singing, which in his opinion is the most important aspect for a musician. Liszt, and many other contemporaries, believed that exercises should be repeated until one is completely exhausted and incapable of going on, and that technique and composing are based around a symphonic sound.Ĭhopin, on the other hand, believed that technical exercises where a waste, and that all technique can be learned through scales, arpeggios, and repertoire. However, Chopin loathed Liszt's playing, and was overall disgusted by his philosophy on piano pedagogy. He admired Chopin tremendously, so much so he wrote the 300 page biography, “Life of Chopin” which you can download for free! One of them being the greatįranz Liszt, who many argue was the greatest pianist of all time. There were other pedagogical methods during his time.
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