Op. 10, No. 2 (also called “Chromatique”) is one of the shortest etudes in this collection (no. 7 being the shortest, this one being next), and focuses, as its name implies, on the chromatic scale. This etude has become known as a reliable overall dexterity exercise and as a right hand speed exercise. The “melody” of the etude is played entirely with the 3rd, 4th, and 5th fingers on the right hand. (Chopin indicated the fingering for every note in the etude, almost 800 individual fingerings). The 1st and 2nd fingers of the same hand play single accompanying notes along with the left hand. This, of course, creates tension in the right hand, and requires a completely relaxed performer in order to perform the etude at its written tempo of 144 BPM. It is also important to note that Chopin instructed that all notes in the “Melody” fingers be played in a legato style, while all of the complying notes be played staccato.
Like almost all of Chopin’s piano etudes, the work is in A-B-A form. The work is in A minor, and the A section keeps the harmony very simple. The B section is much more complex, using many neapolitan chords, dominant seventh chords, and ending on a deceptive cadence. The recapitulation is simply a truncated version of the A section that leads into a coda and resolves on a Picardy Third.
He must have really liked the way A minor sounds. He composed a lot in this key... This piece sounds very interesting because of the chromatic scale. His piece a lot of musical elements including the different kinds of chords.
ReplyDeleteI think it's really cool that he actually performs and publishes the works meant for technique building. I also love how he can make an exercise sound beautiful and captivating.
ReplyDeleteI also think it is super cool how chopin's works were meant for technique building. My first thoughts went back to our lecture on Chopin, and how his compositions are to be played strictly as written. Technique was clearly and important aspect of playing Chopin's music, further exemplifying his virtuosic style.
DeleteI find it both crazy and incredible that he wrote in over 800 fingerings for the work.. That's insane. I love the fact that the right hand is playing in 3rds, 4ths, and 5ths the entire time. Musically it sounds cool, however, I definitely can see how it was used to strengthen and work on technique.
ReplyDeleteKorsakov wrote flight of the Bumble Bee a little over 60 years after this. Do you think he was inspired by this etude?
ReplyDeleteBeing a first year stand up bass student at the university, several of my lessons have composed of etudes by Frank Simandl. That being said, i find it interesting that Chopin is one of the first to define etudes as a tool to perfecting technique, and subsequently influences other composers to construct etudes for their respective instruments of choice.
ReplyDeleteI will never understand what makes an etude, a short piece used for studying and teaching musical techniques, fit into the romantic era. Could it be that the etudes are taken from their original form, but still focus on the skill at hand, to create this lovely work? Like a caterpillar, lame and boring, to a butterfly who still has the origin but looks and behaves differently.
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