Etude revolutionary chopin pdf

Continue The opening of the Revolutionary Study of Study Op. 10, No. 12 in C minor, known as the Revolutionary Study or Study on the Bombardment of , is a solo piano work by Frederic Chopin written circa 1831, and the latter in his first set, Etudes, Op. 10, dedicated to the son of Ami Franz Liszt (his friend Franz Liszt). The history of Revolutionary Study was inspired by the Russian attack on Warsaw in 1831, during the uprising in November 1830-31 the 12th Study appeared at about the same time as the November Uprising in 1831. After the end of 's failed revolution against Russia, he exclaimed: All this has caused me a lot of pain. Who could have foreseen this? Unlike the atudes of previous periods, works designed to emphasize and develop special aspects of musical technique, romantic irons of such as Chopin and Liszt, are fully developed musical concert works, while continuing the goal of developing a stronger technique. Technique In the case of Op. 10, No. 12, the technique required in opening bars plays long, loud descending trails that forms the dominant seventh chord introductory build-up to the main theme. The length and repetition of these fast passages distinguishes the revolutionary from the others ejed. The rest of the passage focuses on the left hand with the fingers of the scales and arpeggio. While the biggest problem is the relentless left-handed semiquavers, the right hand is also challenged by cross-rhythms, which are used with increasing difficulty to handle the same theme in various consecutive parallel passages. The left hand technique in this part involves evenly playing semiquavers throughout. The structure has a stanza (A-A-coda). Some may also claim that it has a terly shape (A-B-A-coda). The opening of broken chords (reduced chord with an added passing note) and descending passages pass into the main apsionat melody. Dotted rhythms of octave melody and continuous accompaniment create the impression of tension. The play ends by recalling the opening in the final downward sweep (both hands), going down to a C-major chord, albeit in a context that draws its expected function as a resolution questioned. External video Alexander Dreishok was known for playing a left-wing role in the octaves, an exemplary reconstruction of which can be seen, YouTube video Etud No. 12 Martha Goldstein, playing on Oreard (1851) - 2985KB Revolutionary Study MIDI performance bernd Kruger Problems of reproduction of these files? See the media report. The end of there hints at 's piano No. 32, written in the same vein - Chopin's play is known to have greatly admired the necessary quote - compare bars 77-81 in Tude with bars 150-152 in the first movement (also ended in C major) Sonata. In popular culture, DDRMAX2 Dance Dance Revolution 7thMix has a remix of the song Study called Kakumei (⾰命) as the boss's final song in One More Extra Stage mode. With the exception of Dancing Stage EuroMix 2, the song is featured in every subsequent arcade release. Kakumei also appears in Beatmania IIDX 7th style and every subsequent release of the arcade bitmania. (quote is needed) Other uses include: Eugene Skullovitch performed this number at the end of Power Rangers zeo episode 12 Instrument of Destruction. The cover version of this piece is used as an opening sequence of music for the British game show Interceptor. Bart Simpson pretended to play the sketch in an episode of The Fabulous Faker Boy from the Simpsons series. Was performed in the anime Your Lies in April several times. Was included in the video game Frederick: Resurrection of Music. Was included in the video game King of Fighters 2003 in the closing stages against Adelheid and Rose. A remix mashup between Etud and Minute Waltz called Revolution redefines any other music by playing when a character based on Chopin's skill is activated in the mobile game Crash Fever. Heavy metal band Lovebites combined elements of this play and Antonin Dvorak's New World Symphony in their 2020 song Swan Song (1933). Baldesperger, Fernand; Azar, Paul (p. Balzac and le monde slave (Balzac and Slavic world). 93. Paris: University of Paris and H. Champion. page 336. OCLC 489978309. - Nick, Frederick (1945), Frederick Chopin as a Man and Musician, page 98. Camen, Roger (1997), Music: Gratitude (3rd Ed.), Boston: McGraw Hill, page 231-232, ISBN 0-07-036521-0. LOVEBITES 激ロ クンタビュ. Haki Rock (Japanese). 2020-01-23. Received 2020-04-30. The external references of Chopin Etudez's Analysis in the ourchopin.com Mutopia Project are a public domain of the engraving of the score using GNU LilyPond, available in several formats. Study Op.10: Estimates in the International Project of the Library of Musical Scores (IMSLP) Chopin-Godovsky - Etude op. 10, No. 12 is played by Francesco Libetta (YouTube) Received from Étude_Op. n. 12 Op. 10 in C minorBy Alberto CoboDedication: For my Clementine, an inspirational muse for both interpretation and music-related works, for being herself pure music. FOREWORDI would argue with this article means that a master class (piano master class) of classical (academic) piano can have, where it is necessary to argue and explain, to subject and set an example, experience and knowledge to such an extent that it is not just a point of the way, approximation or pretend to look something. Go directly to the music foundation, not just the out-of-music, or at least come close to what can define the hidden meaning, the cause of it and how to address the most important aspects of the score. I'm a revolutionary, money doesn't mean anything to me, Chopin told Gazeta.ru. With this phrase Chopin has already sentenced what it means to be a genius of music: to be first aware of your art and therefore to reserve any harmful thoughts that can impair sensitivity and concentration/desire. THE FATHER, Mikosai Chopin (Marainville, Lorraine, 1771-1844), was a French immigrant with distant Polish ancestors who moved to Poland in 1787, inspired by the defense of Polish affairs, and was a professor of French and French literature; he was also the leader of the Earl of Skarbek's family. His mother, Tekla Justin Krzyzhanowska (Dlugi, Kujava, 1782-1868), belonged to the family of the Polish nobility come smaller and was the ruler of the estate where they lived in the zelazov Vola, 50 kilometers from Warsaw.Between 1817 and 1827, the Chopin family lived in a building adjacent to Kazimierz Palace in Warsaw. The building is currently decorated with Chopin's profile. After passing through , Dresden and Wroclaw, He returned to Warsaw, where he fell in love with Constanta (Constant) Gladkovskaya (1810-1880), a young singing student of the conservatory, whom he met in 1828 at a student concert by Karl Soliva. 70 No. 3 and the slow movement of his first for piano and orchestra in Minor. He learned about him by his friend Titus Weitzekhovsky: Perhaps, unfortunately, I have my own ideal, which I silently serve for six months, with which I dream and in whose memory Adagio composed my new concert (1829) This work was released at the Merchant Club in Warsaw in December of the same year and subsequently published as No. 2, Op. 21. He also told T. Weitzichowski: I composed some exercises; I'll show you and touch you soon. These exercises will be the first series of studies Op. 10.That romance was a burning feeling, but not decisive, because he was determined to be a and soon decided to conduct a training tour of Europe. He initially thought about a trip to Berlin, where he was invited by Prince Antoni Radziwicz, Governor of the Grand Duchy of Posen, appointed King of Prussia; Chopin was his guest in Anthony. However, he finally decided on Vienna to consolidate the success of his first round. Though his correspondence of this time in Poland has a tone of a certain melancholy, they were happy times for him, celebrated by young poets and his homeland. After performing his concert several times on intimate evenings, his fame was already so wide that he organized a large concert at the Warsaw National Theatre on March 17, 1830, the first as a soloist in this hall, which again caused a sensation. At the time I was working in my second concerto for piano and orchestra in my junior (later numbered as No. 1, Op. 11), which premiered on September 22 at his home, and began Andante Spianato and Polonesa Op. 22. At the same time, there were uprisings and raids in Warsaw, which were brutally suppressed and resulted in the loss of many lives. These visions deeply impressed the artist who years later composed his famous mourning march in honor of those protesters (later included in piano sonata No. 2 in B flat minor Op. 35). Like every student, Chopin was familiar with typical children's cries of mechanical boredom. Despite his phenomenal technical skills, he had to practice daily studies of Kramer, Clementi and Moseles. The rich development of the composer's talent and the discovery of new means of anthepilistic technique made Chopin realize that the school exercises used at the time were not enough preparation for his work. So he had to think about building his own system. Only the plan of such efforts as a means of didactic and methodological nature became the main goal of his creative efforts. For all that Chopin had to do in life as a composer, he should be presented as an artistic paradigm with the characteristics of the highest category of art. Chopin has already begun to write studies since the eighteenth year of life. In May 1829, the famous Italian violinist Niccolo Paganini arrived in Warsaw to give several concerts. Chopin came to him and was deeply blinded by his virtuosity. His duty to him was evident in Piano Etude Op. 10 No 1, which he composed for those days. And it served as a precedent for the remaining 11 Studies op 10 that he would dedicate to his friend Franz Liszt, also this one deeply influenced by Paganini. «12 Etudes op. 10 were dedicated to his friend Franz Liszt - some publications, such as WESSEL and C, are also dedicated to Ferdinand von Hillier and the fingers of his pupil J. (Paris, June 20, 1833) Op. 10 Etude, No. 12 in C minor, known as the Revolutionary Study, is a piano piece by Chopin's Fryderyk alone (in French, Frederick Francois Chopin, Celazova Will, Grand Principality of Warsaw, March 1 or February 22, 1810- Paris, October 17, 1849) is circa 1831. This is the twelfth of his first series of studies (Twelve Great Studies). Two series of Chopin's studies, Opus 10 and Opus 25, are known as Chopin Etudes, although the Polish composer has three other minor etudes. Unlike studies of past eras, to emphasize and develop specific technical aspects, romantic sketches by composers such as Liszt and Chopin are often used as concert pieces, although they still share the same goal of developing techniques against the instrument. In 1829, he told his friend T. Weitzichovsky: I composed some exercises; I'll show you and touch you soon. these exercises will be the first series of study (those of Op. 10). Poland, which in the sixteenth century was the largest state in Europe along with its treaty with Lithuania, from 1795 until World War I was not an independent state. It was only two years, from 1815-17, that Napoleon tried to help them, or rather, use them to conquer Russia, and this was his biggest defeat. Warsaw had indeed been from the Russians since july 1795.In, 1830, while in Vienna, and learned of the November uprising, the Polish uprising against the Russians, which began on November 29; his friend, with whom he had traveled, Wentcikhovsky, returned to Warsaw to join the revolutionaries, but convinced Chopin to stay there in Vienna. This study appeared approximately with the Cadet Revolution, the November Uprising in Poland in 1830. Chopin was unable to take part because of his fragile health, so he downloaded his feelings about the revolution in many musical works, the most famous of which is this revolutionary sketch. Chopin later said of the failure of the uprising against Russia: All this caused me a lot of pain. Who could have foreseen this! Thus, it is from the Cadet Revolution that this study takes its name. It was an armed uprising against Russian rule in Poland Congress. It is included in the European revolutionary cycle, started in three days of July in France, which is known as the Revolution of 1830.Revolution of 1830, which begins with the so-called July monarchy in France, and extends with the independence of Belgium and unsuccessful movements in Germany, Poland and Italy. This is also due to the reformist measures associated with chartism in the UK, which does not undergo revolutionary political processes. In 1831, he learned, while in Stuttgart, that Warsaw had been falling to Russian troops and the end of the November Uprising; The news hit him so deep it caused a fever and a nervous breakdown. The so-called Stuttgart newspapers reveal their desperation, sometimes bordering on blasphemy: the enemy entered the house. Oh, my God, do you exist? You do and still do not charge revenge. Didn't you have enough of Moscow's crimes? Or... Or maybe you're a Muscovite! Tradition believes that the result of this news and these feelings was born Revolutionary Study in C minor Op. 10 No 12, although most likely it was drafted in its most part in Warsaw.Vienna and the Uprising in Poland The Evening of the Warsaw Arsenal, one of the first events Uprising. After passing through Kalisch - from where he traveled with his lyceum friend, Titus Weitzikhovsky - Wroclaw and Dresden, he was once in Prague and then went to Vienna (where he arrived on November 22, 1830) to stay at Kohlmarkt 9. He stayed there until July 20 next year. A few days after their arrival, they learned of the November uprising, the Polish uprising against the Russians that began on 29 November; Wejciechowski returned to Warsaw to join the revolutionaries, but convinced him to stay in Vienna. He came not as a young sensation from abroad, but as a person who wished to join the Viennese musical environment forever, and artists and businessmen showed indifference and even hostility to him. Moreover, it was not easy to win the taste of the noisy Viennese public: The public only wants to hear the waltzes of Lanner and Strauss, he wrote in the letter. On the other hand, the Polish uprising was not clearly visible in the Austrian Empire. For all these reasons he gave only two concerts in Vienna during these eight months, with modest success. Because of this, his mood declined, and emotionally he was filled with anxiety about the situation in his country and his family. His feelings are known for his letters and diaries. At one point, he abandoned his plans to pursue his career; he wrote to Elsner: In vain Malfatti is trying to convince me that every artist is cosmopolitan. Even if it were so as an artist, I'm barely a child like Polish, I'm over twenty years old; So I hope that, knowing yourself well, you won't reproach me for thinking about the concert program. He was referring to the benefit concert he gave on June 11, 1831, again at the Coerntner Theatre, where he played a concert in my minor. However, it cannot be said that all this time was wasted for Chopin. In addition to meeting with such musicians as Anton Diabelli, Vaclav Irovets, Joseph Merck and Joseph Slavik, as well as attending various musical events and , strong and dramatic experiences and emotions inspired the imagination of the composer and probably accelerated the birth of a new style and individuality, different from the bright previous style. In the Stuttgart newspaper he wrote later: And I am here, doomed to inaction! Sometimes it happens to me that I can't help but breathe, and when I get into pain, I pour my despair on the piano. He composed Nocturne n. 20 in minor, and advanced Etudes Op. 10, Nocturno Op. 9 (among them the famous Op. 9 No. 2, Op. 15 No 2) and started Scherzo in B minor and ballad No. 1 in Minor. Forced to give up his first intention to go to Italy because of the political situation, he decided to go to London via Paris. On July 20, 1831, he left Vienna, passing through Linz from the Alps to Salzburg. On August 28, he arrived in Munich, where he played in the matinee of the Veneina Philharmonic; in early September, he arrived in Stuttgart, where he met Johann Peter Pixis. In this city he learned about the fall of Warsaw before Russian troops and the end of the November uprising; The news hit him so deep it caused a fever and a nervous breakdown. Tradition believes that the result of this news and these feelings were born Revolutionary Study in C minor Op. 10 No. 12 and Prelude in D minor Op, 28 No. 24, although most likely it was written in Warsaw.This nickname or qualifier Revolutionary, was not applied in the beginning, I think it may be in the mid-twentieth century when said the nickname was placed, which was greatly surpassed until today, being thus known simply as the Revolutionary. And he is also, of all his studies, the most famous and interpreted in concert halls, and I dare say: the most famous piano studio in history. Chopin's work is an alien relationship of poetic, literary or other character, since there is no document or letter that tells us otherwise. The nicknames with which we know some of his works today are alien to its author and are subject only to the romantic nature of some famous and critics (especially Schumann) who insisted on playing the Polish musician with a simple approach. That's why Etudes, each their own, are still called these pseudonyms, and they still apply to many categories of small musical poems, and the cpendium of the knowledge of the piano performance. I have always listened that in the authentic Polish people is one that more or less came from some aristocratic blood (Spain can also, by its heraldic surnames, one of mine goes back neither more nor less than Marian Cortez). I saw him when I went to Warsaw, he showed in the air, although they were mistreated by wars and invasions, and much was destroyed. Chopin's mother, Tekla Justin Krzyzhanowska (Dlugi, Kujavi, 1782-1868), came from a family of Polish nobility. Perhaps from there he imbued with this feeling of love and defense in relation to his deep roots, which permeated all his works, and also used the rhythm of ancient Polish dances many times. In 1833, at the age of 23, he published his first cycle, Opus 10, and had already prepared part of the second volume op. 25. None of the greatest European composers has created a masterpiece equal to Chopin Etudes at such an early stage. This defines the uniqueness of study from the point of view of the psychology of genius. WHILE IN CONTEXT TIME is the same way as in all other musical forms, and perhaps even more so than in others, Chopin's field was in that etude. You can see this especially after analyzing Chopin's extremely large number of music points with the zlt;/compendium.Study with those that existed from the previous piano, and with any type of music. To synthesize Chopin's technical innovations in Etude, we will mention some of the most important. First, highlight the extension of the limit of chords divided from eighth to tenth, and even more in consonant and dissonant chords. Then themes with 3 and octaves are created in combination. Constant use of the third or sixth in hand to expand throughout the composition. Counter-motifs are developed on black keys. Using extensive arpegied chords as the only material for the construction of the Study. In addition to these things, there are many new details in the study that can only be considered with careful analysis. Chopin's great awareness is evident in his studies in all its splendor. Each of the Study is a kind of masterpiece, built on the form with monomotor material (because it does not introduce other motifs in its three parts). With a similar logic with which he forms operational proposals, Chopin strengthens them to the size of a symmetrically constructed study. One connects with the other with an inexorable consequence, each tone seems the result of the previous, never feels the lack of naturalness or compulsion in it, all like kinetic energy. Chopin expands the darkest and most demonic resources of expressing his nature in number 12 with terrifying passion, no veiled or suppressed anger, all exploding in a frenzy of hurricane. The characteristics described by Leihtentrit also deserve to be mentioned: From the point of view of a purely pianistic approach, Chopin expresses in this powerful play a pathetically eloquent heroic melody penetrating the acclaimed, in the octaves of the right hand, accompanied by waves in the passages of the left hand, in streams of flow and turbulent reflux. The melody of pathos Etude correct, adequate force, accompaniment that captivates the fury of the blow, the continuous momentum of the wave, is a task in practice, difficult ... At such heights of power and pathos they have not even reached the Symphony or Sonata, even in which Beethoven so recently ended before the study was written: creativity still do not know the diversity of media that Chopin developed here. These include the enhanced chromatic element in relation to Beethoven and the use of interchangeable notes in serious passages, and finally a large combination of waves in shorter and longer passages, allowing for a wide variety of dynamic effects. The phrases in this study are a classic example of the theory that melody is a liquid force. In the eight dimensions of the main theme, the motives of which serve to expand the entire study, we are dealing with the coordination of a number of tension and relaxation of melodic energy in Всей. Общая система имеет высшую категорию гармонии. В этом смысле я лично считаю, что именно добавленную ценность произведения его мастер в композиции, Элснер, настойчиво внушал ему о контрапункте, что позволяет ему увеличить дозу гения нашего универсального композитора. Бас отмечает, что стать короче напряженности и релаксации являются подготовкой до большой мелодичный нападение подчеркнуто верхний голос в первом и сильнейший ритм двух и четырех нот, который сопровождается большим напряжением и релаксации в низкой. Эти ритмичные, более длинные и колеблющиеся движения внутренней динамики мотивов Этюда придают ей выражение силы само по себе. Буржу и Денереаз пишут свое впечатление об их мощном объеме и силе: s'il est une musique не на puisse dire qu'elle сжимает дюре чисто, fluence des vicissitudes de l'еme, c'est bien celle de Chopin... >> (Если есть музыка, которую можно сказать, чтобы выразить чистую продолжительность, приток превратностей души - это музыка Шопена). << It is a short, glowing, and generous sketch, from the hand of Franz Liszt, (who, considered in the double light of composer and performer, has no living equal,) of the original and romantic Chopin; the most ethereal, subtle, and delicate among our modern tone-poets. It is a rare thing for a great artist to write on art, to leave the passionate worlds of sounds or colors for the colder realm of words; rarer still for him to abdicate, even temporarily, his own throne, to stand patiently and hold aloft the blazing torch of his own genius, to illume the gloomy grave of another: yet this has Liszt done through love for Chopin. >> Franz Liszt in his biography about Chopin<< We believe he offered violence to the character of his genius whenever he sought to subject it to rules, to classifications, to regulations not his own, and wich he could not force into harmony with the exactions of his own mind. He was one of those original beings, whose graces are only fully displayed when they have cut themselves adrift from all bondage, and float on at their own wild will, swayed only by the ever undulating impulses of their own mobile natures. >> Franz Liszt in his biography on ChopinHe is the purest and best-tasting artist I have ever encountered, the painter Delacroix said of Chopin.One of the most prominent testimonies was offered by in 1837, when he wrote: << Imagine that an aeolian harp possessed all the musical scales, and that the hand of an artist were to cause them all to intermingle in all sorts of fantastic embellishments , yet in such a way as to leave everywhere audible a deep fundamental tone and a soft continuously-singing upper voice, and you will get правильная идея его игры. Но было бы ошибкой думать, что Шопен позволил каждому из небольших нот distinctly heard. It was a pretty undulating flat main chord, here and there thrown in the air anew pedal. Throughout all the harmonies always heard in large tones a wonderful melody, while only once, in the middle of the work, except for this main song, the tenor voice became prominent in the midst of chords. After Etude the feeling came over one about seeing in the dream a beatific picture that when half awake one will gladly remember. Being precise, careful and respectful to a great genius to whom we should not make changes to the plan because it will fall into a high level of arrogance, it is necessary to carefully examine his writing, which is the only thing that we maintain strict authenticity. In this case, since the study has a greater development of the left hand, we say that this is a study for this hand - and so it is very good to consider it to keep it carried out. If we are careful in what Chopin writes, we see at the beginning accents every four semiquavers, which curiously go unnoticed in most sentences. It is not easy to assume these accents, if the implementation is fast, and in the final metronomic proposal, set by the author of crochet No. 160 (Allegro Con fuoco, in the first edition of Stockholm Stichvorlage -A-, write half of the note No. 76 that it will crochet No. 152, somewhat less quickly) to get a result that is valued requires only a specific possibility of implementation, if it is also within the indication of a legitimate and strengthened this slurthat includes two measures in the left hand. Although defined by the dynamic expression f we find two types of accents that are from the original chord of the right hand with a wedge, which refers to a more vivid accent that is not within the spot, with other accents more planes that refer to much lower intensity, almost pure mental intent. It should be noted that the first emphasis on the left takes place on the third semi-semi-semi-note, rather than in the first, as is usually the case. Since this beginning already determines the rest of the interpretation, we should also note that the measure is not 4/4, but two to four times 2/2. Which gives it an even faster meaning. Our way of thinking is no longer every four semi-weavers, but every eight. A big stumbling block that appears at the end of the phrase is on the left, where five strokes (four last semiquavers and the final sliced quaver notes) should match the dotted quaver, semiquaver and half-note of the right hand. You can often hear the translator lingering at this point to achieve accuracy hands and facilitate the jump of the right hand from the fifth to the eighth the seventh chord is dominant, with courage, somewhat mitigating risk, which, in my opinion, Chopin's temperamental influence and rhythm of rhythm stop from the beginning. Even more between measure 4 and 5, where the jump is even bigger, the seventh. Studying it slowly and without pedaling is highly recommended. I was very interested in how it is that in the first editions of this study, Chopin points out that measures 7 to 9 are connected phrases, perfectly and clearly written (with a crescendo from the second half of measure 7), in editions A (Stiftelsen Musikkulturens Fryamyande, Stockholm), GFE (G1, German First Edition, Library of Chicago University), Second German Edition (G2, Library of Chicago University), Third German Edition (G3, from the british library collections), EFE The University of Chicago Library), the Second English Edition (Osterreichche National Billitec) and the Third English Edition (from the collections of the British Library), while in the most famous commercial editions so far, with the exception of the latter, as well as Paderevsky from the Friederk Chopin Institute, and probably on the basis of this, those of the publishers of Peters, G. Henle Werlage, Alfredo Casella, , and finally, the Salabert Edition of Paris, revised always considered a myth about Chopin's interpretation, Alfred Corto (although I honestly never thought it was magnificent) that points to this phrase from the second eighth note of bar 5, not right with the first note of bar 7, as in the original. By the way, these commercial editions cost me dearly at that time. It is possible that in some later edition these changes have already been made (see: of course, one way or another of the wording defines this or that interpretation, being the closest thing to the idea of a composer who pursues what he wrote and decided as his most successful idea (hence the meaning of Urtext Editions, as a faithful as much as possible to the writing and idea of the creator of the compositions). As for the meaning of phrases and their correct implementation, it is necessary to understand the origin preceding the school harpsichord and fortepiano. The phrase has micro-breathing at the beginning and another at the end. These breaths, therefore, at high speed of execution, are purely intent, psychic, it can only serve to think of them, based on the work, practicing them a lot, so they are very clear in the meaning of interpretation. Then that's its importance. Everything in music is written from Mozart. This is not the case with poets' poems, for example, where there can be a wide range of possibilities and forms of communication. We come to dimension 9, where the motif appears in the left hand for the first time with a splash effect. With a stain that includes it whole, and two regulators up to the middle and down. The suggestions of Paderewsky and Ekier seem to me to be right, but not that Corto, who when using the thumb on the last note of the ascent and not using 4 fingers on the rise and fall, but 3, will slow down the possibility of wanting to get more speed. Even with this fingers and all, the execution is not easy and requires a large balance in the hand and does not exceed the thresholds to emphasize too many regulators. Also, of course, the correct form that we use in terms of mobility, which is at the moment, where I would like to make practical examples so you can see the difference and where one system or another will lead us, risks, benefits, sonority, etc. Another of Chopin's most interesting and characteristic points are its rhythmic combinations. With the rhythmic cell created in the second dimension in the right hand, we offer a small variation, extending it from a semi-semi-semi-note earlier to join these four notes in octaves with phrasing. Although at the beginning of that opening will serve as a presentation effect (along with 9 original bars), in this case it shows us what will be the main leitmotif and true seal of the study, its bravado of authority, sense of dignity, pride of the race, well marked and with determination, and always coincides perfectly with the left hand, which in this case is divided into two minor waves , so that it enters almost in the middle of the second and the inner decides the weight or the next helped the rising regulator, with the highest load of Polish absolute sense. It's like getting cavalry.Combining this cell (which curiously has four notes, such as Beethoven's fifth symphony) with an echo of it in the piano, the fourth more serious, but with an eighth filled that provides a more special sound, returns to attack again repeating the same thing in echo-mirror response, surprise with becuadro, in the round and weak that grew to reach the sforzando. but dropping the main note (D) and chaining it to pursuit a furious character to jump fourth in legato, with the eighth filled the fifth and marked by a stacatto sign, a short sound with silence the subsequent eighth note that gives us a leg up and produced a climax to get to develop all the rage (with force) four measures, 15, 16, 17 and 18, as rhythmic by adding a chord in the second half of the first half and the trigger of each wave d and left, going down the bass in chromatic before reaching G, and creates the perfect cadence effect with the fourth and sixth cadence and E flat on the right, which alters this aspect to incredibly transform the ideal cadence in almost half-, because in measure 18 it dissipates. Impressive skills, in the broken movements of the second and third intervals on the left - which requires the strength of the said hand of the real Samson piano performer - that does not cease to remain a full momentum brave to the end said measure with decrease, reaching the threshold of the ascending engine in the flat B of the left hand and going down with the scale (G , or dominant, since the flat BF then becomes a natural B) and the division of the third in the last two semiquaver notes that's where the phrase of the two measures of the left hand ends. The effect reached this point was devastating, and everything that should come later, even if it maintains a level of genius, is still only an extension of what has already been exposed and happened. Returning to a measure of 19 to repeat Measure 9, but this time in sotto voce (in soft and half-voice), it pops up with sforzando at 23 to return to passion and vary in relation to the measurement of 14 (remember that it was a chord from dominant to dominant) to the seventh dominant chord F in the second investment in measure 24 , also in sforzando and tenuto (the difference is really between the previous and this new change is made having a natural F), and this happens with the progression of agitation in a crescendo, syncopated, which culminates in a stretto, with the bass growing in chromatic until it ends in a measure of 26, where the pianist has to flaunt the great technical power in his left hand in the arpeggio growth and descent markings cadence , this time, ideally, that defines us to the modulation of the apartment (if so, we have lowered the downward tone). The version that appears in the manuscript or the first edition of Stichvorlage A (Stiftelsen Musikkulturens Fryamyande, Stockholm) strikingly pointed to a sharp note on the left, G, turning the following FA into fusa (an option adopted by Padelev publishers, BOILEAU and Peters). Like me in particular, the version is stored in the Library of chicago University (EFE, English First Edition -E1-, Douze Grandes Etudes -in Deux Livraisons- pour le piano forte, Op. 10). Perhaps it is a passage that follows the one with the greatest technical difficulties, mainly for students, due to the number of changes, and how to develop safety, accuracy and speed within the chosen pace and rhythm of service. From bar 28 to bar 37. For the modulation option so sharp that suggests moving from flats to sharp (and double doubles), something in common in it, on the other hand, but it makes understanding much more difficult. Separating the four measures from 29 to 33 in the progression of the two measures. The relationship between B-flat B measures 28 with minor G- is through direct modulation. The left hand makes a bridge of connection between the two measures with the effect of chromatism, creating a very original and amazing turn when moving up and down on the scales of four half-clover notes where fingers 5 and 4 require a very balanced position to develop these passages, very much the idea of Chopin's natural anatomical search of the hand and its movement. The sliced eighth note of bass and half-clover that arise each measure is the basis from which it originates, and how sonority and the idea of whether waves crash on the rocks occur. The final chain of progression, the FH smaller than its theoretically dominant, G-major, is a natural discovery that results after coming from such depths. And all of it still retains - the general tone for study entirely - that bravery, the youthful momentum that drives the battalion captain to victory. Measures 34 and 35 have a characteristic characteristic of romanticism, with the first two crochet chords serving as supports in the right hand, while the left invents scales started with a sixth downward jump and whose first sentence note serves as a reference to this flow in the rest of the notes that continue as if it were rivers or waterfalls. The three measures, 33, 34 and 35, which may well be considered as progression or at least have this effect, one by one, until the third expands in expansion without slowing down the rhythm of the whole halfover notes, sweeping movements, stormy, insane, as if the storm stream was to inevitably reach an imaginary point that could be the mouth of the sea, or even more in its consideration , interstellar, universal movement, strumming measure 37.Again here is another powerful combination in the progression of the two measures comes to mind. When someone imagines that it is impossible to grow further, Chopin reveals to us the secret we have always craved. No, it's proof that you can still grow and grow. Four bars of enormous power, as if an explosion of a supernova of absolute magnitude were involved, creates hatching when entering measure 41 for the first time in a very strong ff. A ray of sequins had to be achieved, effluvium volcanoes, rays, universal explosion, with the nature of what overcame the speed of light to enter the new universe, the recipe of the druid potion or the magician Merlin, which in an overwhelming and inhumane way manages to move us to the mountain of this new and authentic Note that the only difference between measures 37 and 38 with 39 and 40 left hands is only the minimum change half-ton in one note, RE flat Re becuadro to the fourth note measure 40. But! what an amazing effect! It is here, at the beginning of the universal opening, when Chopin again organizes the revival to re-exhibition, presentation before and after, this time already in the new world. So far the trip has been a rebellion, a willingness to heroic, a run with bare breasts ... land in success. If at the moment we still think it is a simple and simple study, we are not able to transmute into the side door that has been proposed and is open to us. Training a concertist, I say the concertist now, because it is the best way to express himself, since this moment has arrived and has come to express these impressions, it is only a possible work of a true concertist, he reflects on his measure 41 his consequences and devotion, as well as his brave, to carry out this re-impact of the agglutinating forces (mental and physical) of all seas Cosmos.It of the re-exposing of his consequences and devotion, as well as his brave, for carrying out this re-impact of the agglutinating forces (mental and physical) of all seas Cosmos.It of re-exposing , repeating what has been said, starting again the journey, but never disintegrates, does not sink, not reducing the struggle to the goal, going through this site with the greatest possible skill. Chopin saves us the first jump he pointed at a measure of 3 to give a putt on hand in 43 (again returns to the dynamic fort) with the jump he made at 5, but as if it were 3, by the time he reaches 45, as if it were 5 with an even wider jump to G sharp and marked by a stacatto accent, in favor of an emphasis on this endless point where the sharpest light of the senses converges with another light, the one that connects you and it is transported, which is an inner ship at an unlimited speed, which in a tiny moment forces you to visualize a full galaxy. Chopin no longer mentions, in boasting overflowing unison in a downward half-clover notes that he raised in a moderate 5, with a fuoco (semper legato) that combination of exercise appearance or method to prepare fingers like galloping horses in Olympic competitions. Just limited to writing the same notes, yes, wrapped this time with a stain that binds them, and allows you to peek the translator who has already informed his idea, but this is already part of the re-exposure, different from the beginning. Something will happen that will lead to other rooms, changing some subtle nuances that at first glance seem to be hardly noticeable. I am referring to the different formulations that exist between measures 7 and 8 with 47 and 48, on the same notes. With the tremendous speed that the study manages, trying these phrasing changes is really a problem for the translator. This new mental chip must be achieved with the greatest naturalness, magic trick that no one apparently notices anything, but in a sense it has changed and there was a different way of expression. Perhaps a rhythmic, almost imperceptible change is also implied in changing the phrase. Well, Paderewski writes about these phrases in his publication just like the ones he writes on the show, the ones I can't find in any other old edition of the links verified by Chopin. Jan Ekier defends them, as Chopin has already expressed in his first manuscript Stichvorlage A (Stiftelsen Musikkulturens Fremyande, Stockholm), as well as in the G1, G2 and G3 (GFE, German first edition) and E1, E2 and E3 (EFE, English First Edition), which is to the idea I embrace. However, Casella, Cortot, Peters and Boileau copy Paderewsky, meaning it will be just like the start of a re-exhibition, with no change in wording. Going into the next scene, parallel to the dimension 19, we are in 49, but it no longer dissolves in the sotto voce so, but returns to the main leitmotif, although this time with a slight rhythmic change in the trio, which by the inherent work may not be as deafening as the first time. Теоретически последние полукваверы правой руки, короче, не соответствуют последнему из левой руки. Equal in measurement 52. However, despite this more flexible mobility, motu perpetuum must guide us until compass 55 arrives with arpeggio rising from the right hand to an energetic, brio position that continues with chords in rhythmic frenetism, the wrist and the athlete's own hand, because having more notes in such an abbreviated span of time and with courage want more and more, this whole page will suffer from this veleity that causes so many flashes, and that already sees as the maximum difficulty of the right hand, reaching that small jump in measure 62, the third between D and F semiquavers, with the latter highlighted in stacatto that decides in a very short breath (unlikely) , bounce twice in the E flat note. We come to the same measure, 64 as at 14. This time, the chord on the right is only three sounds and without weak, accented, and equally strengthening, but this is the end of it, when Chopin surprises us again with another find, the crescendo increases the power to open another universal door, Fz harmonizes with the G flat note in a very strong FF, which begins the progression of two measures, 65 and 66 to the next two 67 and 68. It is very strong must be wide, bulky, leaving the weight of the hand, but without losing the rope, maintaining the motor flight of the eternal waves, so that the grip of the left hand, together with its agility and digital articulation should allow us to create an unprecedented instrument of the piano, with the density and spread of sound that will undoubtedly be covered by the orchestra (referring to the piano). Here all the elements of the hand, levers and even the body have their function for the projection of the person in front of all unknown truths. Harmony becomes a mantle that embraces melodic and enhanced explanation, so that the divine word speaks to us and to understand it requires extreme humility that, as minor little ants we present ourselves to the highest unsurpassed greatness, infinite impossible to quantify. The reinforcement that emphasizes the left hand in a measure of 66 to half a note of chord support right - more power than supports in previous cases because it is in loud sonority and accent - is not divided into two semi-phrases as far, but which covers the compass completely, giving a wider expressive force. This is along with the harmony that sustains it diminishes the seventh, which by its nature is more standard romanticism. Measures 67 and 68 progression are a reflection of the previous two in volume, minor points, strong, not very strong. In my experience interpreting this study many times in public, this difference is only a mental, natural argument well argued, lowering the tone, and having the first half of the notes chord with another note of filling that lends synergy to the created emotional state, and it is already preparing somehow the end result within the formal structure of the study to the threshold of the distant. When in measurement 69, B flat chord in the first investment in the right hand, and in the second left, serves as a key, a fleeting point to move to a new dimension. Sforzando - Piano, dry kick, but with the resonance of the pedal, is the final flash to infinity, which in the perspective of a vigorous flow and still alive, close, immerses us in what will be the development of a magical conclusion, fast but rich in detail. It serves this harmony of connection to a return to the dominant core and original tonality of minor, basted with subtlety that makes it impossible to think that there is no divinity in his creative hand. In this change of sound environment, we are already in ethereal softness, even with the fogs of past waves, but with the message that universal labyrinths lead us from start to finish, they come and go without decomposing for a moment in vertiginity (without rubato) and the rhythm is well sucked into the precise grip. Note G is highlighted above, the other below in the measure of 70. One F note above at 71. An elegant twist at 72. Another round (two really round, since it is connected) with the mystical effect of escaping to another threshold in 73 , it removes the celestial dust of millions of meteorites that are scattered further, with a huge ascending left hand up the stairs, incalculable virtuosity, as if climbing to the top of a skyscraper from the bowels was insubstantial, it leads us to measure 75, the beginning of smordering and the descent into another new phrase of two dimensions in the left hand, which continues with unalterable digital art. In my opinion, he smiles, the next sotto voce measures 77 and a little raging 80, should not destroy the consciousness of volatility, his. The explosion of the previous pages cannot be so suddenly held back, not even in a patent path, but I once again consider the possibility that the interpretation is nothing more than a mental innuendo, only to understand the passage of these instructions in a conscious way that we cross the said area of dispersal, tremolo (measures 78 and 80), landing to (pp) pianissimo (first attempt landing in measures 77 and 78, second or more controlled in measures 80 and 81). Said softness, texture, inner fingers hardened flutter, as if life were a dream, and in that dream includes eternity, the flight of the bird of paradise goes away to finally settle on the thinnest branch of the tallest tree on a mountain more hidden from the most unlikely region's most intoxicating subtleties, a withdrawal of presence in a self-absorbed universe. He puts his paw on this branch... And just when the largest dwarf star, the sultan of the universe, bursts into a multi-directional split of impressive proportions, the disiderate of emotions, the splendor of pre-established canons, collects turn sown in measures 5 and 6 to capture it in a happy way (ff ed appassionato) in 81 and 82, with all the load, all the remaining ammunition, all the available materials, all the internal forces, all the mad baggage to the last peak of existence in human life, trembles in the final four blows, the last two twice as many as the first two and three efeses (fff). Everything disappeared, and from there, who looks up already a new direction and meaning. Silence. ______Buy is currently Master of Masters for 14.99 eurin Madrid clases to play piano Alberto Kobo Piano Audiovisual Madrid Madrid etude revolutionary chopin pdf. etude revolutionary chopin sheet music. etude revolutionary chopin tutorial. chopin revolutionary etude history. youtube chopin revolutionary etude. chopin revolutionary etude imslp. chopin revolutionary etude difficulty. chopin's revolutionary etude in c minor

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