Paganini PDF

University of Cincinnati
Date: 2/1/2011
I, Javier Clavere , hereby submit this original work as part of the requirements for the
degree of Doctoral of Musical Arts in Piano.
It is entitled:
A Study Guide to Franz Liszt's Grandes etudes de Paganini S.141
Student's name:
Javier Clavere
This work and its defense approved by:

Committee chair: Jonathan Kregor
Committee member: Steven Cahn
Committee member: Elizabeth Pridonoff
1300
Last Printed:1/27/2011
Document Of Defense Form
A Study Guide to
Franz Liszts Grandes tudes de Paganini S.141
A Document Submitted to the

CCM Graduate Thesis and Research Committee
In partial fulfillment of the

requirements for the degree of
Doctor of Musical Arts
in the Performance Studies Division
of the College-Conservatory of Music
January 25, 2011
by
Javier Clavere
1824 Pheasant Hills Dr.
Loveland, Ohio. 45140
javierclavere@gmail.com
B.A., Brigham Young University, 2002
M.M., University of Cincinnati, 2008
Advisor __________________________
Jonathan Kregor, Ph.D.
_____________________
Mrs. Elisabeth Pridonoff
______________________
Steven Cahn, Ph.D.
ABSTRACT
This document explores the second version of the Paganini Etudes (1851),
outlining some of the characteristics of the transcription process from violin to piano in
terms of pianistic devices used by Liszt to translate the capriccio and concerto theme into
the piano-etude form. This document aids students, teachers, and performers in the
learning process of these etudes by addressing the cognitive process from the perspective
of a performer learning the basic requirements needed to master the pieces. With a short
background and overall formal structure, each piece is viewed from the perspective of its
original conception in the violin. Some elements of the transcription process and stylistic
analysis of Liszts use of melodic, harmonic, and rhythmic characteristics are outlined in
order to aid the learning process.
Each chapter includes a practice suggestions and guide section where elements
of technical problems, hand subdivision, and parsing of the score for memorization are
explored with suggestive exercises and preparatory learning guides. The document also
explores the physical-technical aspects of practicing the etudes, specifically, helpful
exercises and the finger regimen needed to physically prepare these etudes for
performance.
ACKNOWLEDGEMENTS
I want to thank my wife Lindsay and my two boys, Dante and Julian. They are the
purpose and joy of my life. Their support, unconditional love, and confidence are my
daily strength by which all my work is accomplished. I consider myself blessed to have
Mrs. Elisabeth Pridonoff and Mr. Eugene Pridonoff, as both friends and mentors. Their
nurturing support and deep thoughtfulness has helped me to focus my energies to
complete my doctoral studies. It is through their dedication and love of life that I have
been able to endure to the end.
I am extremely grateful to Dr. Jonathan Kregor. His enduring patience, and
enthusiasm for Franz Liszt, is a sign of true mentorship and guidance. I also owe a debt
of gratitude to Dr. Steven Cahn, who throughout the years has provided me with support
and mentorship that has enabled me to become a better scholar, a better musician, and a
better person.
I especially want to thank the faculty of the piano department for sharing their
love of music and support throughout these years. Finally, I am ever grateful for the
blessings from God in my life, for without His support and unwavering love none of this
would have been possible.
TABLE OF CONTENTS
Abstract
Acknowledgement
Table of Contents
Table of Figures
Chapter 1 Introduction
10
Chapter 2 The Piano Etudes
19
Chapter 3 The Learning Process
25
Chapter 4 Outline of the Study Guide
30
Chapter 5 Etude Number One in G minor Tremolo
33
Chapter 6 Etude Number Two in Eb Major Octaves
47
Chapter 7 Etude Number Three in G# Minor La Campanella 60

Chapter 8 Etude Number Four in E Major Arpeggios
74
Chapter 9 Etude Number Five in E Major La Chasse
80
Chapter 10 Etude Number Six in A Minor Theme and Variations
88
Conclusion
103
Bibliography
105
Appendix
108
TABLE OF FIGURES
Figure 2.1
Capriccio for Violin Op. 1 No.1
21
Figure 2.2
Etude No.4 in E Major
21
Figure 2.3
Etude No.4 in E Major (second version)
22
Figure 2.4
Etude No. 4 in E Major
22
Figure 3.1
String of Random Letters
27
Figure 3.2
String of Letters Organized in a Logical Pattern
Figure 5.1
28
Capriccio Op. 1 no. 6 Main Theme
34
Figure 5.2
Capriccio Op.1 no. 5, Prelude (A minor)
35
Figure 5.3
Capriccio Op.1 no. 5, Postlude (A Major)
35
Figure 5.4
Capriccio Op.1 no. 5, Prelude (G minor)
37
Figure 5.5
Capriccio Op.1 no. 5, Postlude (G major)
38
Figure 5.6
Capriccio Op.1 no. 6, Theme and Tremolo
39
Figure 5.7
Piano Etude Prelude Section First Gesture
40
Figure 5.8
Piano Etude Prelude Section Second Gesture
40
Figure 5.9
Piano Etude Prelude Section Third Gesture
41
Figure 5.10
Piano Etude Prelude Section Closing Gesture
41
Figure 5.11
Practice Pattern
41
Figure 5.12
Chromatic Scale Practice Pattern
Figure 5.13
Section A Left Hand or Both Hands, Tremolo Exercise
43
Figure 5.14
Section B Tremolo Exercise
44
Figure 5.15
Section B Sequential patterns (measures 27 28)
42
45
Figure 5.16
Alfred Cortot Rhythmic Pattern
46
Figure 6.1
Introduction section (measures 1-4)
47
Figure 6.2
Section A Scales and Spiccato Chords
48
Figure 6.3
Section B Octave Work
48
Figure 6.4
Closing of the Coda (segue)
49
Figure 6.5
Prelude First Sub-division
50
Figure 6.6
Cadenza First Gesture
50
Figure 6.7
Cadenza Second Gesture and Final Chord
50
Figure 6.8
Sub-section [a1] Rapid Scale Work
51
Figure 6.9
Sub-section [a2] Interlocking Chords
51
Figure 6.10
Sub-section [a3] Interlocking Octaves
52
Figure 6.11
52
Figure 6.12
Hand Redistribution
53
Figure 6.13
Triplet Practice Pattern
55
Figure 6.14
Scale Pattern Hand Distribution
55
Figure 6.15
Interlocking Patterns
56
Figure 6.16
57
Figure 6.17
Rhythmic Variations for Four-Note Groups
58
Figure 6.18
Arpeggio and Blocks
59
Figure 7.1
False Harmonics
60
Figure 7.2
Motif A Section A
61
Figure 7.3
Motif B Section A
62
Figure 7.4
Introduction
63
Figure 7.5
Theme A Melodic Material
64
Figure 7.6
Theme B Melodic Material
64
Figure 7.7
Theme A, Second Presentation of the Theme (2 variants)
65
Figure 7.8
Theme B, Second Presentation of the Theme
65
Figure 7.9
Theme A, Third Presentation of the Theme (2 variants)
66
Figure 7.10
Theme B, Third Presentation of the Theme
66
Figure 7.11
Theme A, Fourth Presentation of the Theme (1 variant)
67
Figure 7.12
Final Coda
68
Figure 7.13
Melody and Leaps
69
Figure 7.14
Cortots Suggestion
70
Figure 7.15
Right Hand Octave Arpeggiation
Figure 7.16
Cortots Octave Exercise
71
71
Figure 7.17
Trills and Melody in the Same Hands
72
Figure 7.18
Triplets and Four-Note Groups Rhythmic Variants
72
Figure 7.19
Coda Octave Work
73
Figure 8.1
Capriccio Op.1 no. 1
74
Figure 8.2
Section B
75
Figure 8.3
Closing Section Ascending Double-Thirds
75
Figure 8.4
Hand Distribution
76
Figure 8.5
Re-distribution of Hand Crossing
76
Figure 8.6
Crossover Hand
77
Figure 8.7
Double Thirds Scales
77
Figure 8.8
Ascending Thirds
77
Figure 9.1
Capriccio no. 9 (Section A)
80
Figure 9.2
Section B (Triple-Stop Chords)
81
Figure 9.3
Section C Sub-section a
81
Figure 9.4
Section C Sub-section b
82
Figure 9.5
Section A First Double-Period
83
Figure 9.6
Section A Second Double-Period
83
Figure 9.7
Section B Double Octaves and Interlocking Inner Melody
83
Figure 9.8
Double Octave
84
Figure 9.9
Hand Distribution
84
Figure 9.10
Double Notes Exercise
Figure 9.11
Cortots Exercise for Evenness in the Left Hand Accompaniment 85
85
Figure 9.12a Inner Melody Alone
86
Figure 9.12b Without the Inner Melody
86
Figure 9.13
Subdivision of the Hands for Trill Performance
86
Figure 9.14
Last Section A Left Hand Practice
87
Figure 10.1
Capriccio no. 24 (Theme)
88
Figure 10.2
Variation I (Triplets and Triadic Arpeggiation)
Figure 10.3
89
Variation II (Rapid Finger Work)
89
Figure 10.4
Variation III (Double Octaves)
90
Figure 10.5
Variation IV (Rapid Scale and Arpeggio Work)
Figure 10.6
Variation V (Broken Octaves and Leaps)
Figure 10.7
Variation VI (Double Thirds, and Double Tenths)
Figure 10.8
Variation VII (Triplets)
90
90
90
91
Figure 10.9
Variation VIII (Chords, Triple Stop Chords)
Figure 10.10 Variation IX (Arpeggios, Left Hand Pizzicatto)

Figure 10.11 Variation X (Harmonics)
91
91
91
Figure 10.12 Variation XI (Double Stop Chords, Arpeggions, Leaps, Jumps)
92
Figure 10.13 Finale
92
Figure 10.14 Cadential extension in Variation II
92
93
Figure 10.16 Finale
93
Figure 10.17 Hand Re-distribution Theme Section
94
Figure 10.18 Sustained Note
95
95
Figure 10.15 Variation VII Repeat
Figure 10.19 Tied Notes
Figure 10.20 Melody in Thumbs
95
Figure 10.21 Melody Alone
96
Figure 10.22 Practice Suggestion
97
Figure 10.23 Downbeat Incorporation
97
Figure 10.24 Rhythmic Variations for Practice Purposes
98
Figure 10.25 Subdivision of the Hands
99
Figure 10.26 Rolled Chords and Pedal Placement
99
Figure 10.27 Blocking Chords and Jumps
100
Figure 10.28 Triplet Rhythmic Variation
101
Figure 10.29 Variation VIII Chordal Practice
101
Figure 10.30 Exercise to Perfect and Solidify Trill Performance
102
CHAPTER 1
Introduction
In 1832, while Paris was reeling from epidemic attacks of cholera, the young
virtuoso Franz Liszt witnessed a concert that changed his artistic life and forever altered
the style of his piano compositions. In April of that year, the great violinist Nicolo
Paganini offered a benefit concert at the Paris Opera House to aid the victims of the
cholera epidemic. Liszt was overwhelmed by the musical virtuosity displayed by
Paganini. As he recalled to a friend shortly after witnessing the concert, What a man,
what a violin, what an artist! Heavens! What suffering, what misery, what torture in those
four strings!1 This encounter between the young Liszt and Paganini created what author
Alan Walker termed an artistic awakening, where Liszt witnessed his future clearly
marked out before him.2 For Liszt, the concert showed Paganini as the ideal artist who
was able to fuse his personal voice with a mechanical instrument. Paganinis unparalleled
ability as a violinist reflects this fusion. Because there was no parallel figure in the piano
world no Paganini of the piano a clear path lay before the young Liszt to become the
missing figure in the piano world. Liszts ambition influenced his compositional choices
and shaped the future of piano playing in the nineteenth-century and beyond.
An introduction to Paganinis childhood provides a window into the musical
development of the mature virtuoso. He was born in Genoa, on October 27th, 1782, to
Antonio Paganini and Teresa Bocciardo (Paganini). Nicolos mother, Teresa,
superstitiously believed that the heavens had saved her son from death, after the young
1
The Letters of Franz Liszt, ed. La Mara, trans. Constance Bache (New York: Charles
Scribners Sons, 1894), 1: 8-9.
2
Alan Walker, Franz Liszt: The Virtuoso Years (New York: Cornell University Press,
1983), 173.
10
Nicolo survived serious health issues. Because of Teresas superstitious nature, she
understood these events as heaven-sent. Somehow, she associated his recovery with a
divine pre-destination for her son to be the greatest violinist the world had ever seen. On
the other hand, Nicolos father, who loved music and played the mandolin, was a
mercenary businessman who sought wealth while avoiding work. In his pursuit of wealth,
Antonio succumbed to gambling habits. Antonios fondness for gambling, the
superstitious beliefs from his mother, and a love of music were traits that would follow
the young Nicolo throughout his life.
Nicolo received his early musical training from his father Antonio, an amateur
musician who instructed the youngster in the art of mandolin and violin playing. This
musical training influenced greatly Nicolos later compositional style and musical output.
Once it became obvious that the young boy possessed an extraordinary talent, as shown
by his rapid progress, his father decided to have a more reputable teacher supervise his
sons training. At this point, Nicolo began studying the violin with Giovanni Cervatto,
and later with Giacommo Costa, leader of the Genoa theatre orchestra. He also studied
composition with Franceso Gnecco.3 In order to help pay for the lessons, Nicolo played
the violin in church orchestras every week. This musical participation provided for the
young musician a wealth of experience in the art of sight-reading, and the opportunity to
perform with famous musicians, such as the singers Luigi Marchesi and Teresa
Bertinotti.4
Edward Neill, Paganini, Grove Music Online, http://www.grovemusic.com/

proxy.libraries.uc.edu (Accessed July 15, 2010).
4
Allan Kendall, Paganini: A Biography (London, Chappell and Company, 1982), 10.
11
At the age of twelve, Paganini began demonstrating an ability for composition

with the Variazioni sulla Carmagnola, a set of fourteen variations for violin and guitar
based on the French song of the same name. The tune La Carmagnola originated during
the French Revolution.5 The simplicity of its melodic structure made it easy to remember
and thus wildly popular. In addition, its lyrics directed sarcasm at the monarchy, its
supporters, and the queen of France. This memorable song charged with highly political
innuendos was rapidly accepted socially, particularly among the lower classes. Because it
contained simple lyrics that illiterate people could easily learn and understand, the song
allowed everyone to participate in singing as an expression of national pride.6 This
incorporation of popular material was particularly important in Nicolos development as
a popular figure, attracting attention to his artistry through the use of controversial
material that was accessible to the general public.
Paganini used this song in his variations, keeping the guitar accompaniment the
same for all variations. As the variations unfold, the accompaniment keeps the same tonal
and rhythmic structure, while the violin provides virtuoso variations on the theme. More
importantly, the composition called for performers to imitate the nasal sound of bagpipes
by bowing on the bridge, an effect Paganini called organetto. This instance is one of
his first known attempts to call on performers to imitate foreign sounds on the instrument.
This first composition also shows Antonios influence on the young Paganini. Nicolo,
indicated in his autobiography: Once home I did some farming and for some years took
Nicolo Paganini, Variazioni sulla Carmagnola, performed by Franco Mezzenna violin

and Adriano Sebastiani Guitar [LP] (Genova Italy, 1979).
6
Neill, Paganini, Grove Music Online.
12
pleasure in playing the guitar.7 Nicolos inclusion and admiration for the guitar are a
sign of his father influence.
The young boy was encouraged to continue his musical education with
Alessandro Rolla at Parma, where Rolla was the leader of Parmas ducal theatre. After
meeting with Nicolo, Rolla said he could teach Nicolo nothing after hearing the young
boys outstanding technique and skill in sight-reading. Rolla advised Nicolo to study
composition with Ferdinando Paer, and Gaspare Ghiretti. Rolla may have simply been
attempting to avoid the responsibility of teaching Nicolo, or Rolla may have been sincere
in his comments. In either case, Paer and Ghiretti became strong influences in Paganinis
musical training.
In 1801 Paganini moved to Lucca to play in the republican orchestra, where he
enjoyed financial stability. During this brief stable period, Paganini composed several of
his sonatas for violin and his first violin concerto. Soon, however, after Napoleons sister
Elisa and her husband Prince Felice Bociocchi arrived in Lucca, Paganini was demoted to
second chair in the republican orchestra. Given Paganinis independent personality,
coupled with his demotion, he decided to become an independent performer. This
decision to move toward artistic independence meant that Paganini began going on tours,
where he would become a performing romantic virtuoso per excellence. The period to
follow his departure from the republican orchestra included a series of very successful
Italian tours that lasted from 1810 to 1824.
Following the Italian tours, the publisher Ricordi in 1830, advertised in Rome, for
the first time, the availability of five sets of compositions by Paganini. Among them were
7
Giuseppe Gazelloni, Nicolo Paganini: The Complete Works for Guitar Solo
(Heidelberg: Chaterelle Verlag, 2006), 5.
13
the Capriccios Op. 1 for violin solo, dedicated to alli Artisti -- all professional artists.
These capriccios were immediately judged by amateurs and professional musicians alike
to be unplayable.8 These compositions were not originally intended for public
performance. They were intended as a collection of studies, or exercises, within the
context of musical compositions. As a group, they differ from earlier studies as they
approach musicality and virtuosity: The technical aspects of musical production are not
isolated as rapid exercises or studies but are incorporated in the musical work as part of
the whole.
From 1825 to 1827, Paganini toured Italy a second time. While his health
declined greatly due to his affliction with a venereal disease, there were also speculations
that Paganini suffered from Marfans syndrome. These speculations were based on his
physical attributes of being tall, with long limbs, long fingers, and hyperextensible
joints.9 It was during this period that his reputation grew considerably. Once his health
improved, Paganini performed in Rome, Palermo, and Naples. While in Rome he was
knighted as a member of the Golden Spur, and appointed an honorary member of the
Saint Cecilia Academy of Music.10
The following year, in 1826, Paganini completed his second violin concerto. The
composition was a major success, due in part to the ingenuous final rondo known as La
Clochette or La Campanella, in which the use of a triangle imitates the sound of a
small bell. This movement is another demonstration of Paganinis constant preoccupation
8
Leslie Sheppard, Paganini: Containing a Portfolio of Original Drawings by Vidio

Polikarpus (New Jersey: Paganiana Publications, 1979), 470-1.
10
14
with the frontiers of sound production in the violin. In this movement a small bell
embellishes, while reinforcing the melodic lines of the violin. The little bell sounds are
imitated in the orchestration, as well as in some of the soloists passages where
harmonics replicate the bell-like sound. This sound was intended to add a charming
gypsy-like coloration in the rondo theme. The use of exotic or Turkish elements is
characteristic of Paganinis style. This movement later influenced Liszt where he
recreated the theme of the rondo in his rendition entitled Grande Fantasia de bravoure
sur La clochette. Liszt also incorporated a similar device in his piano concerto in Eb
Major, which contains a triangle part imitating a small bell.
In the next period of his career, Paganini moved to Vienna, where he composed
three works for violin and orchestra. As a token of appreciation for the warm welcome he
had received, two of the works for violin and orchestra were dedicated to the Austrian
people. One, based on Haydns String Quartet op. 76 no. 3, is used as the Austrian
National Anthem. When this adaptation of Paganinis was performed for the emperor,
Paganini was immediately appointed to the emperors Kammervirtuos.11 Tours through
Germany took place in 1829 and 1830. While in Frankfurt, he made the acquaintance of
Karl Guhr, the leader of the local theatre orchestra. Paganini allowed Guhr to closely
observe his masterful technical skill on the violin. The treatise ber Paganinis Kunst die
Violine zu spielen, written by Guhr in 1831, surveys the technical aspects of Paganinis
violin technique and performance style.12
11
12
15
Paganinis appearance in France in 1831 established his fame, while establishing

his career as an international concert artist. Paganini was heard for the first time in Paris
in the salle de LOpera. The elite of the aristocracy, the flower of the amateurs, all the
artists, all the dandies, all the woman of fashion, all the foreigners of distinctionall made
this their rendezvous.13 This appearance resulted in an invitation to perform at the
Kings Theatre in London, which then led to a tour in 1832 through Ireland and Scotland.
During this tour, Paganini decided to return to Paris where he crossed paths Liszt, who
was at a crucial stage of his musical and compositional development.14
Interestingly, and in contrast to Liszt, Paganini did not teach or instruct pupils, nor
did he create a violin performance style or school to be imitated. His performance was
based solely on his own style of playing. His manner of violin performance included
many innovations, including the way in which he held the violin, with the neck of the
instrument pointed downwards and both upper arms held close to the performers body.
Further, the use of aural effects, such as left-hand pizzicato, double harmonics, ricochet
bowing, tuning the G string to a different tone, or raising the four strings a semitone,
point to his interest in using the violin to produce new sounds that could recreate an
etherealness representative of the mystical and supernatural world of the romantic period.
The capriccios of Paganini evolved from the tradition of technical exercises
associated with Pietro Locatelli and his 24 capriccios for violin. Locatellis monumental
work, LArte del Violino, 24 capriccios was first published in 1733, and documents the
rise of the instrumental virtuoso in the 18th century. It also provides a genealogy of the
13
Jeffrey Pulver, Paganini: The Romantic Virtuoso (London: Herbert Joseph Limited,
1936), 213-4.
14
Kendall, Paganini, 82.
16
history of preparatory exercises for violin as an aid to virtuoso playing. These studies
were intended as a set of pieces containing mechanical difficulties to be conquered.
Paganini expanded on Locatellis idea and created a set of exercises in the form of
musical capriccios that incorporated the practice of sounds, gestures, and musical ideas,
by means of difficult technical passages. Paganinis set of 24 capriccios, along with the
tradition of Carl Czernys piano exercises, influenced the development of Liszts piano
etudes later on. From the time of Paganinis 24 capriccios, etudes and exercises were not
perceived as mere mechanical physical exertions but as a well-balanced integration of
technique and musical content. The old school of exercise performance of Pietro
Locatelli and Carl Czerny was replaced by a new approach toward studies in musical
virtuosity in the hands of Paganini, Liszt, and Chopin.
Paganinis capriccios were successful due to his modeling of melodic treatment
based on bel canto, and the way they emphasize the supremacy of the melodic material in
the midst of bravura and virtuosity.15 These capriccios, written between 1802 and 1819,
were intended to address a different skill in each piece within the context of different
musical material. Paganinis second violin concerto in B minor Op. 7 was written in Italy
in 1826. While technique is of primary importance in the capriccios, technical demands
and the demonstration of technical skill are not the only concern in this violin concerto.
The bel canto characteristics found in the capriccios are also found in the melodic
development of the concerto.
Paganini demonstrated his ability to equip his name with the necessary means to
become a celebrity. His musical style and innovations parallel his charismatic
15
David Dubal, The Essential Canon of Classical Music (New York: North Point Press,
2003), 164.
17
personality. The mentioning of a concert appearance would spark a frenzied response

while drawing large crowds, even in the most unlikely of places. His personality, coupled
with the aura of mystique, showmanship, business-like manner, turned his talent into
huge profits. However, it was his inspiration, or the ability to inspire other composers and
musicians of his day by his playing that created a new style of performance they had not
yet known. Paganini opened the possibility of the role of the Romantic virtuoso, not only
for the violin, but for all instruments.16
16
Kendall, Paganini, 138.
18
CHAPTER 2
The Piano Etudes
The development of violin technique in the hands of Paganini would encounter a
similar development in the genre of piano etudes in the hands of Franz Liszt. In the
1830s, Liszt encountered people who molded his musical life and artistic output. In
particular, meeting contemporary musicians and colleagues had a positive influence on
Liszts developing personality. Among the new acquaintances were Hector Berlioz,
Frederic Chopin, and Charles Valentin Alkan. However, the most influential meeting for
Liszt was with violin virtuoso Nicolo Paganini. In 1832, Liszt heard Paganini perform in
Paris. This experience changed the young pianists artistic career forever. Liszt set out to
incorporate the technical devices characteristic of Paganinis playing by translating them
into a pianistic vocabulary, thereby making them his own. Liszt set himself to practice
several hours a day in order to re-create the passages and unravel the difficulties of
Paganinis technical devices, among them tremolos, glissandos, spiccato effects, and belllike harmonics. Both musicians were infatuated with technical exercises and with using
such exercises to strengthen their technical skills in pursuit of transcendental virtuosity.
Paganini was greatly influenced by Pietro Locatellis technical exercises in the Arte del
violino. Liszt, on the other hand, was under the influence of Carl Czernys rigorous and
strenuous regime of technical exercises. Czerny devoted his life to teaching, and to the
development of technical exercises for keyboard dexterity. This new pianistic language
and disciplined approach created an atmosphere in which Paganinis interest in technical
exercises could influence Liszt.
19
Liszts devotion to the systematic training of technical skills would produce a

breakthrough in the history of piano playing. According to Liszt himself, the practice
schedule of endurance exercises would sometimes last up to ten hours a day, with skills
such as scales, arpeggios, trills, and repeated notes dominating the practice session. The
goal of achieving independence of the fingers was always the central driving force.17
In order to emulate Paganinis virtuosity, Liszt handpicked selections from his
unaccompanied Capriccios for violin op. 1, which had been originally published over a
decade earlier to a genuinely astonished market. He also chose two themes from
Paganinis first two violin concertos. The first fruits of these labors resulted in the
Grande fantaisie di bravura sur La clochette de Paganini, completed in 1834. A far more
important publication, however, came with the Etudes dexcution transcendante daprs
Paganini, completed in 1838 and published around 1840. This version of Paganinis
etudes effectively sums up Liszts diabolic pianism and the development of his technique.
The second revised version of these etudes differed considerably.18 This later revised
version, published by Breitkopf and Hrtel in 1851, bears Liszts own inscription
Grandes Etudes de Paganini transcrites pour le piano et ddies Madame Clara
Schumann Seule edition authentique, entirement revue et corrige par lauteur.19 In
this second version of the etudes, the technical difficulties found in the piano
transcriptions require less mastery, having been brought down to a level of virtuosity that
was ostensibly manageable to Liszts colleagues. At the same time, the revised etudes
17
Alan Walker, The Virtuoso Years, 297.
18
Franz Liszt, Paganini Etudes (California: Alfred Publishing, 1985), 1.
19
Franz Liszt, 6 tudes daprs Paganini (Paris: Salabert Editions, 1949), 1.
20
more closely approximate the original technical intent of the violin pieces, demonstrating
maturity in the conception of virtuosity and musical economy.20
In the following figure, we observe the original capriccio and its use of arpeggios as the
the technical difficulty performers need to overcome.
Figure 2.1
Capriccio for violin Op. 1 No.1
In the following figure Liszt recreates the original difficulty found in the violin capriccio.
At the same time, Liszt adds a second parallel arpeggio figure to the original line.
Figure 2.2
Etude No.4 in E Major - Etudes dexcution transcendante daprs

Paganini 21
In this second version of the same transcription, Liszt increases the difficulty even further
by adding double notes creating a very difficult four-line arpeggiation.
20
Walker, The Virtuoso Years, 308.
21
Nicolo Paganini, Etudes dexcution transcendante daprs Paganini, Plate 8368-9

(Leipzig: Breitkopf und Hartel, 1851), 29.
21
Figure 2.3
Etude No.4 in E Major - Etudes dexcution transcendante daprs
Paganini (second version) 22
In this final version of the piano etude, Liszt returns to the simplicity of the original
capriccio, dividing the difficulty between both hands.
Figure 2.4
Etude No. 4 in E Major Grandes tudes de Paganini S.14123
During the period between 1849 and 1853, Liszt undertook a project of revision
of his piano works. Among the works revised were the Transcendental Etudes, the
22
Franz Liszt, Etudes dexcution transcendante daprs Paganini, 35.
23
Franz Liszt, Grandes tudes de Paganini S.141, Musikalische Werke, Serie II Band 3,
Plate F.L. 37 (Leipzig: Breitkopf & Hrtel, 1911), 25.
22
Paganini Etudes, the Years of Pilgrimage, and the Hungarian Rhapsodies. Moving from
the excesses and flamboyancy of his youth, Liszt rewrote the Paganini Etudes with an
economy of musical means that both reflected a closer reading of the original score and
reflected his own maturity as a composer. Other experts have pointed to Liszts need to
use his etudes as teaching pieces, establishing an accessible method of achieving mastery
of technical devices. The heavier action in nineteenth-century pianos also may have
influenced the arrangement.24 To answer the questions, why did Liszt rewrite the etudes
in a more economical way? Alan Walker states:
Their greater simplicity stands in inverse proportion to their increased
brilliance, and that had never happened before. They are a perfect
illustration of the law of economy to which all physical motion strives:
Minimum effort, maximum result. Only the greatest master could
conserve more energy than he expends while at the same time achieving a
more powerful result. Paradoxically, virtuosity is used here to transcend
virtuosity itself.25
With this economy of means, Franz Liszt not only approximated to the original
composition, but also demonstrates a compositional maturity beyond the virtuoso
impulses of his youth.
In the 1840s and 1850s, Liszt made unprecedented advances in the technical
approaches to piano playing. At the same time, the development and evolution of the
mechanical aspects of the instrument itself provided a greater capacity for sound and its
wider range of dynamic possibilities. The instrument could imitate fuller symphonic and
vocal works, as well as a variety of coloristic and timbral effects. During his period of
revision it is possible that a return to the original violin material in Liszt piano renditions
24
Youshin Kim, An Analytical Study of Liszts Grandes Etudes de Paganini Nos. 3 and
6 (D.M.A. Thesis, University of Washington, 1999), 15.
25
Alan Walker, Franz Liszt: The Weimar Years (Cornell University Press, 1989), 149.
23
of the violin works, combined with Liszts need to exercise musical economy, influenced
the decision to revise and re-arrange the piano etudes in order to transform both technical
and musical virtuosity.
24
CHAPTER 3
The Learning Process
The approach to learning creates a new set of rituals, through which the intricacies
of the learning process are enacted. However complicated this process, a pianist must
make certain decisions regarding musical issues, including determining a method of
assigning fingering to technical passages, a method of interpreting notational symbols
and directives by the composer, as well as making choices in phrasing and musical
declamation. Once artists have made these choices, further study and understanding of
the musical form and harmonic structure of a given piece provide a helpful roadmap for
memorization and mastery of the musical work. These choices become performance cues,
features of the music selected by the pianist to serve as reminders during performances,
which contribute to the development of the artists memory. The question that intrigues
many observers is, how does a pianist learn and memorize a given repertoire?
A successful, live performance includes technical proficiency, aesthetic
sensibility, and rapport between the audience and performer. In contrast, when a recital
isnt successful, the live performance contains memory failure, technical or aesthetic
limitations, debilitating performance anxiety on the part of the performer, and an overall
sense of mismatch between the audience and the performer. 26 In order to ensure a
successful performance the artist must prepare the musical works in a methodical way.
As Roger Chaffin and Mary Crawford put it:
A piece has to be analyzed and worked on at many levels. At the final
26
Roger Chaffin, Gabriela Imreh, and Mary Crawford, Practicing Perfection: Memory
and Piano Performance (New Jersey: Lawrence Erlbaum Publishers, 2002), 2.
25
and highest level, the artist manifests his or her own individuality,
musicality, personality, taste, sensibility, and knowledge, all which are
reflected in the details that set one performance apart from others.27
It is of great importance that the artist analyzes the work, while the work is in the learning
process. Analysis provides means for parsing the score in order to aid the memory and
retention process.
Different types of memory, namely muscular, aural, and visual, are important
parts of successful learning processes. The first type is muscle (motor) memory, by which
the processes of musical expression are automated and become largely unconscious. This
memory deals with the incorporation of physical movements that make possible the
execution of technical passages. The pianist comes to recognize the strength needed to
create a soft sound, as well as the speed of attack required to produce a loud sound. The
second type of memory is the process of aural, or auditory, memory, by which the artist
remembers the material through aural recollection. The pianist recollects sounds and then
reproduces the sequence or patterns aurally recognized as correct. Finally, visual memory
aids the performer in recalling the score and hand positions. By seeing the hands move
across the keyboard and recollecting the appearance of the score, the pianist recalls the
proper notes and patterns. A well-programmed method of memorization is the basis of an
achievable learning goal.28
27
Chaffin, Practicing Perfection, 30.
28
Piano lessons with Seymour Bernstein, recorded in New York City, April 12-16, 1998.
For a more complete overview of memory and piano performance see Seymour Bernstein, With
Your Own Two Hands: Self-Discovery Through Music (New York: Schirmer Books, 1981), 21959.
26
In addition to the three types of memory outlined above, there is another layer of
memory known as conceptual or declarative memory through which the pianist reinforces
the process of learning music through formal analysis, harmonic analysis, structural
fragmentation according to technical skills, and fingering pattern schemes.29 Conceptual
memory is of crucial importance in the cycle of learning music as it provides the reliable
information on performance and the expressive cues necessary to produce a performance
of a piece of music. Conceptual memory also provides an effective retrieval scheme that
solidifies performance. The retrieval scheme needs to be mediated by knowledge about
the music that enables the performer to encode meaningful relations.30
Roger Chaffin, an internationally recognized cognitive psychologist specializing
in the study of knowledge representation in memory, demonstrates the implications of
conceptual memory through a reading test. He states that working memory is a capacity
that is not reserved for geniuses. He further states that when a person is asked to recall a
string of letters, only the familiarity with the material provides a recollection of elements.
For example, if we read this passage and recall this string of letters:
Figure 3.1
String of random letters
HEWOFJTFKPLNFSAZRWEQGUK
A normal person will manage to recall and memorize approximately seven characters at
time. Now consider the next example:
29
30
K.A. Ericsson, R.T. Krampe, and Tesch-Romer, The Role of Deliberate Practice in the
Acquisition of Expert Performance, Psychological Review, 100 (1993), 397.
27
Figure 3.2
String of letters organized in a logical pattern
YOU ARE AN EXPERT IN READING
There is no need to try to remember these letters; we are experts in reading and the
recollection system recalls somewhere between 50,000 to 100,000 words that we can
immediately and automatically recognize, pronounce, and understand. Two things add to
this process of retention, the recognition of words that create a sentence and the space
between sets of letters creating a word. This logic in perception also applies to the
memorization of music. A system that provides recognition and understanding of musical
patterns, such as those in figure 3.2, will be able to provide an easier recollection of
musical material. This system of recalling musical patterns is achieved successfully by
the use of conceptual memory.
The process by which we gather and recall information in conceptual memory is
called chunking. Chunking occurs when a pattern in long-term memory allows us to
recognize that specific pattern and treat it as a single chunk of information.31 The ability
to recall information in chunks allows for the recognition of larger amounts of familiar
material. A musical example of such a chunk is a melodic gesture that follows certain
sequential patterns. The retrieval scheme based on the recognition of familiar material, or
chunking, organizes notes into familiar patterns such as sequences, scales, arpeggios,
harmonic progressions, small sections, and larger structures. Occasionally, pianists create
an illusion of effortlessness and spontaneity during a performance. This illusory
31
28
perception from the perspective of the audience does not reflect the amount of work that
goes into preparing a performance preparing the chunking and retrieval scheme, and
rehearsing the execution of the retrieval process.
Pianists practice very conscientiously, in a process called deliberate practice.
The concept of deliberate practice can be defined as the set of activities that have been
found most effective in improving performance.32 Such practice does not consist only of
sitting and practicing for hours, but also involves intensely concentrating and developing
a process that will allow for the automatic retrieval of information under great levels of
stress. While the development of technical dexterity and musical skill requires practice,
the levels of musical skill and technical dexterity attained are directly related to the
amount, type, and quality of the practice sessions. It is a basic assumption to state that the
amount of time an individual is engaged in deliberate practice is related to the level of
that individuals acquired performance.
32
Ericsson, K.A., Krampe, R.T. and Tesch-Romer. The Role of Deliberate Practice in the
Adquisition of Expert Performance. Psychological Review, 100 (1993), 379.
29
CHAPTER 4
Outline of the Study Guide
In the chapters that follow, this study guide will provide suggestions regarding the
process of deliberate practice. Each chapter includes a section called background and
overall formal structure, which contains a short description of each capriccio and its
relationship to its piano etude counterpart. In some cases there is a discussion of the
pianistic technical devices Liszt employed to transcribe (translate) the capriccios and
concerto themes into the piano-etude form. Further suggestions and exercises are
available in appendix 2. While these are directly related to the etudes, the examples are
cross-referenced to Liszts own technical treatise, Technical Exercises for the Piano
composed between 1868 and 1880. Together with the transcription analysis, this section
will provide an overview of the formal structure of the piano etude. These concepts of
form will provide background for structural chunking. More importantly, specific
technical pianistic traits will determine the type of subdivisions of the work.
Following formal analysis of the etudes, the second section, practice suggestions
and guide, will address the localized description and guide to approach the deliberate
practice of different piano technical skills. These can be grouped either by melodic,
harmonic, gestural, or rhythmic complexes. Smaller units will not be based solely on
traditional formal analysis, but may use gestural and melodic subdivisions, or rhythmic
and harmonic subdivisions. By this organizational structure, chunking will be reinforced
by the analysis of each subdivisions salient characteristics. This second section will
include a practice guide to small structural sections and sub-sections, melodic and
30
gestural phrasing, pedaling techniques, fingering schematics, and possible re-distribution

of the hands.
The etudes practice guide will include a practice method for reinforcing the
technical proficiency of certain passages. This approach may include exercises in the
separation and redistribution of hands, the re-organization of patterns (by means of
rhythmic variations, chordal groupings, and other exercises), the blocking of chords, and
other suggested exercises. This section of each chapter will provide suggestive exercises
for solving technical passages. Performance speeds may be indicated in order to provide
guidance with suggestive metronome speeds in order to provide guidance for slow
practicing. This study guide includes exercises aimed at providing a practical guide to
achieving mastery of specific technical difficulties found in the etudes.
This process of learning and practicing will provide a schema that will aid both
physically and mentally in the performance of all the etudes. Polishing and balancing the
various larger structural sections in the piano etudes is an ongoing process.
Understanding that the process of polishing for a performance is a process that is never
really finished, the pianist will be able to revisit the compositions at a later time for a
more refined study. Chaffin explains this stage when he writes:
The main goal of the polishing stage is to settle the piece into your
memory at a high level of performance and with a definite emotional
shape to it. It is really a matter of routine rehearsal rather than practice.
Another goal is to build up your confidence for the trouble spots. Almost
every piece, especially technically challenging pieces, have their pitfalls,
places that could be problems or places that you are just afraid of. During
the last stage you want to enter a period in which you have a really good
percentage of success. Its like ice skaters with their triple axels and lutzes.
You have to try and get them solid and consistent for several weeks before
and build up confidence.33
33
31
This process of learning can provide the basis for a maintenance routine in order
to keep the composition at high levels of readiness for performance time. By practicing
the compositions in small sections, we are assuring that the memory will be solidified
raising the overall sense of a successful performance.
32
CHAPTER 5
Etude Number One in G Minor Tremolo
Background and Overall Formal Structure
The Grandes tudes de Paganini are a set of six piano etudes. The first of these
etudes is also known by the descriptive title of tremolo, due to the technical
requirement of tremolo playing throughout the work (Figure 5.1). The original capriccio
emphasizes the ability of the performer to produce tremolo in the left-hand while playing
the melody. Etude number one for the piano is based on two of Paganini Capriccios:
Capriccio Op. 1, No. 5 in A minor, and Capriccio Op. 1 No. 6 in G minor. Liszt doesnt
utilize capriccio 5 in its entirety, but uses the prelude and postlude sections.
The piano etude adopts the following form:

a. Prelude (mm. [-1-5])
b. Section A mm. 1-18
c. Section B mm. 19-38
i. Sub section a mm. 19 26
ii. Sub section b mm. 27 31
iii. Sub section c mm. 32 39 (downbeat)
d. Section A mm. 39-52
i. Bridge 53-54
e. Postlude (5 measures [55-60])34
34
Measure numbers are taken from the score Grandes Etudes de Paganini, published by
Editio Musica Budapest, edited by Zoltan Gardonyi.
33
As a pianist begins studying the work, learning these sections individually will
facilitate a recollection of large form memory. As discussed in earlier chapters, the use of
conceptual memory (declarative memory) is an important addition to the learning process
of a piece of music. Therefore, a clear understanding of each sections subdivisions will
facilitate a better recollection in performance.
Capriccio 5 contains a prelude section in the key of A minor (Figure 5.2), and
postlude section in A major (Figure 5.3), alluding in the latter to a Picardy structural
ending in the capriccio. The prelude and postlude are introductory sections that contain
ascending arpeggios coupled by descending scales outlining the extension of the
instruments range.35
Figure 5.1
Capriccio Op. 1 no. 6 Main Theme
35
All musical examples of Nicolo Paganinis work will be reproduced from the public
domain score: Nicolo Paganini, 24 Capriccios op 1 for Violin, revised by Carl Flesch, Leipzig:
C.F. Peters ca. 1900.
34
Figure 5.2
Capriccio Op.1 no. 5, Prelude (A Minor)
Figure 5.3
Capriccio Op.1 no. 5, Postlude (A Major)
Liszt utilized the prelude and postlude from capriccio 5 as a structural frame to
capriccio 6, resulting in a new form. Liszt transposed the prelude and postlude sections
down a major second (from A minor and A major to G minor and G major) in order to
keep the key signature of capriccio 6, fusing the two capriccios into one final piano etude.
The prelude contains four gestures made of an ascending arpeggio complemented
by a descending harmonic minor scale. The next iteration of the arpeggio expands its
range by one note creating in consequence a scale expansion. This expansion in range
35
creates a growth in intensity, culminating in a two octave chromatic ascending and

descending scale with a climatic final chord.
Liszt does not include the same amount of gestures in his piano translation of this
section. He reduces the gestures to three iterations in the piano etude instead of four in
the original capriccio. This could be a consequence of the limitations in the range of the
keyboard, where there is no more space to expand. After the first arpeggio-scale iteration
the range expands in the second and third iterations by an octave. While transcribing,
Liszt applies, in the second and third iterations, the addition of a parallel arpeggio and a
descending scale in the right hand to create a greater sense of growth in intensity. The
section ends with a double chromatic scale and final chord (Figure 5.4).36
36
The coloring of the piano examples is due to the use of a digital copy of the first
original printing of these etudes dating from 1851. This edition is the actual score where Franz
Liszt indicated, Grandes Etudes de Paganini transcrites pour le piano et ddies Madame
Clara Schumann Seule edition authentique, entirement revue et corrige par lauteur. All
musical examples of Franz Liszts work will be reproduced from the public domain score of this
original first edition from the Ruth Dana Collection of Liszt Editions. A full copy of the scores is
included in appendix 3. Franz Liszt, Grandes tudes de Paganini, S.141, Plate 8368-9. Leipzig:
Breitkopf & Hrtel, 1851.
36
Figure 5.4
Capriccio Op.1 no. 5, Prelude (G Minor)
First
Gesture
Second
Gesture
Third
Gesture
Final Chromatic
Scale and Chord
37
Figure 5.5
Capriccio Op.1 no. 5, Postlude (G major)
The same principle of range expansion and intensity growth in the prelude section is
mirrored in the postlude section. The change of mode from minor (prelude) to major
(postlude) in the original violin capriccio is maintained by Liszt in the piano etude. As
mentioned earlier, this modal shift strongly alludes to a structural picardy chord ending.
The middle section of the piano etude, which was intended in the original
capriccio to develop the violinists technical ability to play continuous left-hand tremolo
while supporting a melody at the same time, translates the same difficulty into pianistic
terms.
38
Figure 5.6
Capriccio Op.1 no. 6, Theme and Tremolo
A debate regarding the performance of the first section of the etude with the left hand is
created by the ambiguity of notation. Even though the introduction of the etude is
traditionally played by the left hand alone, there are no definitive indications that the
performer can not play the passage with both hands. Adding to this ambiguity, the
subdivision of the hands at measure 17 increases the debate. In either case, the pianist can
opt to play section A (measures 1-18) either with the left hand alone, or both. Seymour
Bernstein wrote in the introduction to The Leschetizky Method: A Guide to Correct and
Beautiful Piano Playing:
According to anecdotes told to me by my own teacher, Alexander
Brailowsky, disciple of Leschetizky- this work is not intended as an overzealous insistence of the letter of the law, but to be a guide to correct and
beautiful playing. So when Alexander Brailowsky once said to me at a
lesson that Tone is the expression of your soul, he perhaps summed up
his own teachers philosophy. In fact, when teaching, Leschetizkys
favorite motto-no life without art, no art without life- could have been
changed to no technique without musicality, no musicality without
technique. 37
Considering the quote above in relationship to the piano etudes A section, the choice is
ultimately a musical one, particularly when the score is ambiguous.
37
Theodor Leschetizky, The Leschetizky method: A Guide to Correct and Beautiful Piano
Playing, New York; Dover Publications, reprint 1997.
39
Practice Suggestions and Guide

In order to practice this section most effectively, the pianist should divide each of
the three gestures into two parts; the arpeggio and the scale. Following this subdivision,
the arpeggio can be practiced with blocked chords to acquire the topography of the
keyboard. The harmonic minor scales can be practice by stopping on each arrival of the
octave in order to mentally centralize the descending motion in smaller fragment. The
same procedure should take place for gestures with both hands.
Figure 5.7
Piano Etude Prelude Section First Gesture
Arpeggio
Figure 5.8
Scale Pattern
Piano Etude Prelude Section Second Gesture
40
Figure 5.9
Piano Etude Prelude Section Third Gesture
Figure 5.10
Piano Etude Prelude Section Closing Gesture
Figure 5. 11
Practice Pattern
The practice pattern above is intended as an aid for the pianist to acquire topography of
the passage at the keyboard. The original ascending arpeggio is blocked in chords to
solidify the hand position and strength of the hand (muscular memory). The descending
scales are parsed, pause at each octave, to gain control of three-octave scale descending
pattern. The practice pattern in figure 5.11 corresponds to the first gesture in figure 5.7.
41
For gestures two and three, the same pattern of practice is applied to both hands, which
can further be practiced individually (right hand, left hand), or together.
The pattern of parsing the scales at the octave with a pause (stop) is an exercise
that can be applied to other instances of scalar work. The closing gesture contains a
descending and ascending chromatic scale (see figure 5.12). These scales can be
practiced with the same principal, where the scale stops at each arrival of the octave
before continuing. This also can be practiced first by playing each hand individually, and
then hands together.
Figure 5.12
Chromatic Scale Practice Pattern
Section A (measures 1 to 18) requires the pianist to make a decision regarding the
use of the left hand alone, or the use of both hands. The notation is not clear whether the
left hand is the only option for performance. This ambiguity is emphasized in measures 9
and 14 where the notation can be interpreted as a hand subdivision (see figure 5.13).
Considering that the score was the officially approved score by Liszt, it is reasonable to
assume that the allowance of either choice would be acceptable. Nevertheless, whether
hands alone or hands together, the pianist can practice the tremolo skill, by dividing the
tremolo into a succession of triplets. By doing so, the tremolo will become both
strengthened and solidified as both notes of the tremolo are accented and exercised.
42
Figure 5.13
Section A Left Hand or Both Hands, Tremolo Exercise
Section A can be sub-divided into three smaller sections. Each section can be
learned by applying the same rhythmic triplet exercise over the tremolos (measure 1 to
downbeat of 5) (downbeat of measure 5 to downbeat of measure 11) (measure 11 to
downbeat of measure 18). Each section should be played individually, isolating them
from the whole.
43
Section B can also be divided into three smaller sections. The first is sub-section
(a) consisting of measures 19 to the downbeat of measure 26. This sub-section includes 2
four-measure sequences, one in the key of G major, and one in the key of A major. Each
sequence increases in intensity as it moves to the next key. In this instance the tremolo is
made out of triplets, so a new approach to practicing includes the technique of blocking
the tremolos. Once these tremolos are blocked they can be repeated as a way to solidify
the hand position and harmonic motion. This is illustrated below in figure 5.14.
Figure 5.14
Section B Tremolo Exercise
The second sub-section (b) is made up of another three sequential sections, the
first two comprised of two measures each (measure 27-28, 29-30), and the third sequence
spanning just one measure eliding a resolution into the key of G. This elision allows for
the third sub-section (c) to return to the original key by re-establishing the dominant-tonic
cadence in G, while at the same time initiating a new set of sequential sections that will
close section B. These three sequential patterns move chromatically viio7/E to E in
measure 27-28, viio7/F to F in measures 29-30, and viio7/G to G in measures 30 and
downbeat of 31, where sub-section (c) starts. Basically the same approach to practicing is
used in this sub-section (b). The pianist can apply repeating blocked chord patterns to
44
reinforce the hand position in these sequences. By performing the repetition of triplets,
and the blocking of each chord, memorization is being reinforced.
Figure 5.15
Section B Sequential Patterns (measures 27 28)
(These chords can either be played once or in triplets)
The third and last sub-section (c) of Section B (measures 32 to 39) contains yet
another group of sequential motion. This section returns to G minor in measure 39. Once
again to memorize this section, a blocking of chords, in both single and triplets, will
provide a clearer pattern for memorization.
Section A returns with some alterations in measure 39 to 52, where a bridge
connects the etude to the postlude section. In measure 39 the rotating pattern in the right
hand requires a sense of detachment from the keys. In his edition of the Paganini Etudes,
Alfred Cortot provides an exercise of different accentuations of the pattern in order to
achieve regularity in the successive attacks of the keys.38
38
Franz Liszt, 6 tudes daprs Paganini, (Paris: Salabert Editions), 2.
45
Figure 5.16
Alfred Cortot Rhythmic Pattern
(Rhythmic variation exercise pattern to equalize the arpeggios)
Finally the bridge in measures 53 and 54, reinforces the key of G major in a descending
scale, adding the Eb in measure 54 as a reminiscence of the minor prelude, now
transformed into a major key.
46
CHAPTER 6
Etude Number Two in Eb Major Octaves
The second of the piano etudes is also known by the descriptive title of octaves,
due to the technical requirement of octave playing throughout the work. This piano etude
is based on the Paganini Capriccio Op. 1, No. 17 in Eb Major. The original capriccio
emphasizes the ability to perform octaves, as well as to perform rapid scales in one bow,
changing rapidly to spiccato chords. The capriccio includes an introduction, followed by
an ABA form.
Figure 6.1
Introduction Section (measures 1-4)39
The introduction consists of an outlined seventh chord, moving to the secondary

dominant viio7/V (implied V/V), closing with a free cadenza section reemphasizing the V
chord by a broken ascending arpeggio and a figuration outlining the Bb chord throughout
the range of the instrument.40
The formal structure of the violin capriccio is as follows:
39
Measure numbers are taken from the score Grandes Etudes de Paganini, published by
Editio Musica Budapest, edited by Zoltan Gardonyi.
40
Ian Altman, Liszt Grandes Etudes after Paganini: A Historical and Analytical Study
(D.M.A.Thesis, University of Cincinnati, 1984), 78.
47
1. Introduction: measures 1-4

2. Section [A]: measures 5-22
3. Section [B]: measures 23-38
4. Section [A]: Repeats measures 5-22
Section A begins with a piano rendition of rapid scale succession followed by the
spiccato chords, outlining inversions of Eb.
Figure 6.2
Section A Scales and Spiccato Chords
Section B is contrasting in character while utilizing the octave work, which gives the
name to the etude.
Figure 6.3
48
Liszt retains the formal structure of the original capriccio in this piano etude, with
the exception of the addition of a coda.
The formal Structure of the Piano Etude is as follows:
3. Section [B]: measures 23-44
5. Coda: measures 63-71
Interestingly, at the end of the coda, Liszt added the words segue, emphasizing the
continuation of this etude into the next, implying a connection in performance practice
between Etude No. 2 in Eb Major, and Etude No. 3 La Campanella in G# minor. This
continuation is made noticeable in the connection of the last chord of etude 2 [Eb major],
and the first notes of etude 3 [D#]. The final Eb chord becomes the enharmonic connector
to the next etude, implying the notion that the etudes were designed to be played together
as a whole.
Figure 6.4
Closing of the Coda (segue)
The prelude of the piano etude (measures 1-4) contains two sub-sections. The first
one outlines a diminished chord toward a dominant chord arrival.
49
Figure 6.5
Prelude First Sub-division
The second sub-section of the prelude is a free cadenza (Cadenza ad lib.). This cadenza
has two gestures, one ascending by outlining the dominant chord, and a responding
descending pattern, followed by a trill and a final statement of the V7 chord.
Figure 6.6
Cadenza First Gesture
Figure 6.7
Cadenza Second Gesture and Final Chord
50
The introduction is followed by a traditional ABA structure. Following the violin

capriccio, the first [A] section contains the technical skills of rapid scalar passage
followed by a change in character in the imitation of spiccato chords. Section A
comprises measures 5 to 22. The section can further be divided in four sub-sections, each
one requiring a different technical approach to performance.
Figure 6.8
Sub-section [a1] Rapid Scale Work Spiccato Chords (measures 5-12)
Figure 6.9
Sub-section [a2] Interlocking Chords - Hand Crossing Chromatic Scales

(measures 13 17)
51
Figure 6.10
Sub-section [a3] Interlocking Octaves (measures 18 22)
In this piano etude, Liszt cleverly produced these piano technical devices not included in
the original violin caprice, transforming a regular scale into a chromatic scale of
interlocking octaves.
Section B comprises measures 23 to 45, and is based mostly on octave work.
Figure 6.11
52
The return of section A in measures 45-62 is an identical performance of the

opening A section. The coda however introduces new material based on the initial scalechord pattern found in the first [a1] sub-section.

The scheme for the memorization process can be made more accessible if the
piece is divided into sections representing different technical characteristics, rather than
traditional formal sections. Consequently, one can divide the 4-measure introduction into
two segments, the first containing a chord progression from a seventh chord to a
secondary dominant V/V to the dominant chord; and the second containing two gestures
in a cadenza style with a closing trill in the bass note. From the beginning the pianist can
glean that the chords moving toward the dominant provide a possibility of re-arranging
the distribution of hands for a more successful and solid performance. By re-assigning the
notes to different hands, the passage becomes easier, the pianist is able to voice inner
melodic motions better, and the performance of the etude becomes more accessible and
comfortable.
Figure 6.12
Hand Redistribution
53
In order to successfully practice the first gesture of the introductions second subsection, it is important to be able to play accurately the left hand alone, as well as the
right hand alone, prior to performing both hands together. In the case of the first gesture,
a simple outline of the Bb triad is iterated in different inversions of the triads. Initially,
when a pianist learns the gesture playing both hands together, the brain processes the
section as a difficult passage, when in reality it is accessible. It is perceived as a
psychological trick.41 It is necessary to have a clear topography of the triadic motion of
each hand in order to process them together. This will allow for the passage to be played
fast and successfully. The second gesture should also be practiced hands alone. A
recommended exercise for this section includes a rhythmic variation applied to the
descending pattern in order to provide solidity of sound. Once again, the practice of
rhythmic variation should be done; first hands separately until mastered, then hands
together slow, raising the tempo in small increments as the passage becomes more
comfortable.
41
See the introduction to Franz Liszt, Technical Exercises for the Piano, edited by Julio
Esteban (Port Washington, New York: Alfred Music 1971), 2.
54
Figure 6.13
Triplet Practice Pattern
Section A Subsection [a1] provides another choice for the performer. The scale can be
divided between the two hands, or it can be played by one hand. The division between
both hands seems to provide a more solid sound in the scale.
Figure 6.14
Scale Pattern Hand Distribution
In subsection [a2] the pianist encounters the difficult interlocking triads descending
chromatically. This pattern must be practiced hands alone, in order to allow the brain to
55
capture the topography of the pattern. The following ways of practicing outlined below
are useful for any interlocking pattern found in the piano works of Liszt.
Figure 6.15
Play as written hands alone until the pattern is fully learned, and the chord sequence is
solid in both hands individually. Proceed to play both hands together after each hand is
learned properly,
Figure 6.16
Play as written hands alone first, then proceed to play together. Play each chord three
times rotating the accents across the triplet. Another variant is to place a fermata and
move from triplet to triplet changing the position of the fermata. Play the same patterns
hands together repeating the chords three times with different accent placement and
fermata placement.
56
The same pattern of practicing can be successfully applied to learning interlocking

octaves.
In section B, the octave pattern requires a different type of rhythmic work. While
a hands alone approach is still the first step toward a successful incorporation of the
notes, the succession of groups of four 16th notes can be approached with rhythmic
variants. Section B is divided into three sub-sections that require specific technical
approaches. The first subsection [b1] expands from measure 23 to 30, and includes two
different gestural motions where the octave work is switched from the left hand to the
right hand in a call and response. These patterns of octaves are best mastered by playing
them with rhythmic variations as well.
57
Figure 6.17
Rhythmic Variations for Four-Note Groups
As seen in figure 6.17, which includes measures 23 and 24, there is a succession of 4 note
groups (in octaves). The exercise included in the figure is a helpful way to produce
solidity in the performance of musical figures including groups of 4 notes. In order to
solidify the performance of this section, the pianist will benefit by playing groups of 4
notes in each of the 6 rhythmic variants provided. This type of exercise solidifies the
performance of straight runs of 4 note groups. The rest of the etude is identical as the A
section.
Another section that requires practicing the sections by blocking them into chords
is the arpeggio in measure 18, which is repeated in measure 58. This arpeggio can be
grouped into triadic blocks in order to solidify the sound and stability of the arpeggio.
58
Figure 6.18
Arpeggio and Blocks
It is advisable to practice this arpeggio in blocks slowly, both legato and staccato, always
keeping in mind the procedure of hands alone, particularly the left hand, then together.
59
CHAPTER 7
Etude Number Three in G# Minor La Campanella
The third of the piano etudes is also known by the descriptive title of La
Campanella, (little bell), from the concerto in B minor Op. 7 for violin and orchestra.
The original violin concertos final rondo included a technical device of false
harmonics representing in sound the musical depiction of a small bell (Figure 6.1).
These two themes are from the final movement, a rondo in 6/8 meter, with a formal
structure of ABACA. The first section, section A of the rondo is structured with an
internal [ABA] form built on two motifs. The first motif consists of a parallel period of
eight bars, repeated by the orchestra for a total of 16 measures.42
Figure 7.1
42
False Harmonics
Ian Altman, Liszt Grandes Etudes de Paganini, 102.
60
Figure 7.2
Motif A Section A
61
Figure 7.3
Motif B Section A
Because the themes are extracted from the A section of the rondo, Liszt did not follow
the formal structure of the concerto. Rather, he composed a new form based on variations
62
of these two themes. Deviating from the model he used in transcribing Paganinis violin
capriccios, Liszt rendered a new form, reorganizing and developing the two motifs.
Liszt also incorporated two measures from the end of the violin rondo from the
last tutti closing the final section. The entire A section, and these two bars from the final
tutti, comprise the entire etudes motivic material. Each new presentation of the melodic
material in the piano etude provides a new adaptation of pianistic technical devices.
The piano etude is in the key of G# minor, and its formal structure is a set of
variations based on the two themes with an introduction and a coda.
2. Section I Theme A and B: measures 5-20 and 21-42
3. Section II Theme A and B: measures 43-78
4. Section III Theme A and B: measures 79-120
5. Section IV Theme A truncated without B: measures 120-128
6. Coda: measures 129-139
The introduction of the piano etude (measures 1-4) outlines octaves alluding to
the dominant chord as a harmonic upbeat to the tonic downbeat of measure 5.
Figure 7.4
Introduction
63
Section A sets the etude in motion by outlining the melody in large intervallic leaps in the
right hand, where the main melodic material is placed at the bottom of the leaps.
Figure 7.5
Theme A Melodic Material
Figure 7.6
Theme B Melodic Material
In the first variation of the two-theme section, theme A is transformed by two different
piano techniques. In the first presentation of the melodic material, Liszt places the
melody in the left hand while he accompanies the melody with an arpeggiation of the
octave in the right hand. In the second presentation of the melodic material, Liszt
switches the melody to the right hand with repeated notes while the left hand
accompanies with a bass-chord.
64
Figure 7.7
Theme A, Second Presentation of the Theme (2 variants)
In the presentation of theme B, the chromatic descent is doubled in the left hand, while
the chord in the following measure has four repeated notes added to the texture.
Figure 7.8
Theme B, Second Presentation of the Theme
In the second variation of the two-theme section, theme A is transformed once

again by two different piano techniques. In the first presentation of the melodic material,
Liszt places the melody in the left hand while he accompanies the melody with a trill and
an octave in the right hand. In the second presentation of the melodic material, Liszt
65
switches the melody to the right hand while the melodic motion is adorned by an octave
and trill.
Figure 7.9
Theme A, Third Presentation of the Theme (2 variants)
In the presentation of theme B, the chromatic descent is in double notes in the left hand,
while the chord in the following measure has wide leaps in both hands.
Figure 7.10
Theme B, Third Presentation of the Theme
66
In the third variation, theme A is now presented in octaves in the right hand, while the
left hand accompanies the melody with an octave-chord accompaniment pattern. The
second presentation of the melodic material is missing, so the last variation is truncated,
transitioning to the coda.
Figure 7.11
Theme A, Fourth Presentation of the Theme (1 variant)
67
Figure 7.12
Final Coda
In order to facilitate the learning of the piece, it is advisable to divide the work
into five sections (four large sections plus a coda). Each section requires a different
approach or exercises for each new set of technical devices. The scheme for the
memorization process will become more accessible if the piece is divided into four large
68
sections, each one with further subdivisions between the two motifs. Some sections do
not represent different technical characteristics, but require the exercise to be adapted to a
similar pattern of practice. Alfred Cortot provided exercise suggestions for practicing
different technical difficulties. Once again, these exercises are not all encompassing but
require the pianist to adapt the concept of practicing to new musical patterns.
Section I requires attention to the melodic line at the bottom of the large leaps.
The difficulty is to continue a melodic line without interruption, as the hand is leaping
through a large physical distance. These leaps require strength and evenness in the
production of sound.
Figure 7.13
Melody and Leaps
When practicing these leaps, it is important to keep in mind the melodic motion of the
lower notes, while at the same time achieving an even sound in both upper and lower
notes.
69
Figure 7.14
Cortots Suggestion43
The first example provides a practical execise to facilitate the accurate

performance of large leaps. It is recommended that these exercises are played very slowly
in order to allow the muscles to record the physical motion and distance. In this case, we
have an instance of muscular memory, where the arms will need to recollect the actual
distance needed to perform these leaps accurately. In all instances, muscular memory is
always reinforced by the accuracy of the notes and slow speed while practicing. The
variants of the leap exercises provide a greater control over the accuracy of the leap, as
well as a development of independence in the melodic line in relationship to the upper
note. This particular subdivision in the rhythmic performance of a pattern can be applied
and adapted to all passages in the etude that contain leaps.
Section II requires a different type of leap production; in particular, an
arpeggiated octave in the right hand. In this particular motion the difficulty lies in the
distance between the middle note of the arpeggiation and the upper note.
43
Franz Liszt, Grandes Etudes de Paganini, edited by Alfred Cortot (Paris: Durand
Editions, 1951), 25. (Reproduced with permission, Durand Publications Schirmer/Hal Leonard
Publications Copyright Department, 2010)
70
Figure 7.15
Right Hand Octave Arpeggiation
In order to create a smooth rotation between the upper two notes, Cortot once again
provides the following advice.
Figure 7.16
Cortots Octave Exercise44
This exercise also provides the keyboard topography necessary to succesfully perform
both variants of the motif in section II.
Motif B introduces four repeated notes, and trill motion placed above and below the
melody. In order to facilitate the performance, the following exercise provides the
foundation necessary to achieve an even performance of these trills. Once again, these
exercises are intended to be adapted to the different sections where a trill is performed
together with a melody in the same hand.
44
Liszt-Cortot, Paganini Etudes, 30. (Printed with permission, Durand Publications

Schirmer-Hal Leonard Copyright Department, 2010)
71
Figure 7.17
Trills and Melody in the Same Hands
Previous chapters have discussed the benefits of using exercises with rhythmic variants
during the practice of triplets and four-note groups. These patterns can be adapted to
other situations, with similar technical demands.
Figure 7.18
Triplets and Four-Note Groups Rhythmic Variants
These types of exercises will aid the development of an even sound in all patterns of
practicing that include any subdivision of three or four notes.
72
The last section that requires attention is the coda, as it poses other difficulties
with the inclusion of octave leaps and melodic material in the inner voices. Once again,
Cortot provides insightful advice on how to practice the octave passage by applying an
exercise that allows for the development of evenness outside the repetition of the written
notes.
Figure 7.19
Coda Octave Work
This particular etude requires concentration in the development and practice of muscular
memory in order to produce successful performances of large leaps, and octave jumps.
73
CHAPTER 8
Etude Number Four in E Major Arpeggios
The fourth piano etude is also known by the descriptive title of Arpeggios, due
to the technical requirement of playing arpeggios throughout the work. The piano etude is
based on Paganinis Capriccio Op. 1, No. 1 in E Major. The original capriccio calls upon
the ability of the performer to play even arpeggios across the strings of the violin, triple
stop-chords, and triplets in double thirds.
The formal design of capriccio 1 is comprised of section A (measures 1-16), an
extended section B (measures 16-52), and a closing section (measures 52-76). Section A
includes two technical devices, arpeggios and triple-stop chords.
Figure 8.1
Capriccio Op.1 no. 1 (Section A: Arpeggios Triple Stop Chords)
The second extended B section is in the parallel minor mode. It also includes the arpeggio
figuration, the triple-stop chords, and the addition of the double-third triplet descending
scales.
74
Figure 8.2
Section B (Arpeggios Triple-Stop Chords Double-Third Scales)
The closing section introduces one new element, which is the scale of ascending doublethirds.
Figure 8.3
Closing Section Ascending Double-Thirds
The technical problems in this capriccio are apparent; they present the difficulty of
crossing over strings while producing an even arpeggio sound. There is also a required
ability to rapidly change left-hand positions while stopping the thirds and triple-stops. In
his last version Liszt decided to follow the original form strictly and without any
additions or variations. Any addition in terms of harmonic or melodic elements is
secondary to the underlying harmony of the capriccio.
75
In this version of the piano etude there is once more the possibility of making a
choice in the distribution of the hands. While the score requires a specific separation of
the hands as seen in the original score, other subdivisions later in the same score imply
the possibility of a different hand distribution.
Figure 8.4
Hand Distribution
In the score the pianist is asked to perform the outer notes of the arpeggio with the left
hand, while the right hand outlines the inner notes of the arpeggio. However, a redistribution of the hands will divide the figures avoiding the constant crossing of the
hands.
Figure 8.5
Re-distribution of Hand Crossing
This new configuration will require the pianist to have a facility in repeated notes, but it
avoids the dangers of hand crossing. This pattern can be practiced with the rhythmic
variations used for four-note patterns as explained in previous chapters. This subdivision
is implied later in the etude when the hand crossing becomes extreme in distance.
76
Figure 8.6
Crossover Hand
The scales in double thirds allow the possibility of performing the passage with
different rhythmic displacement. This rhythmic displacement is used to solidify the sound
and evenness of each set of double-note thirds. Eventhough the pattern is very short, the
subdivision will exercise independence in the fingers that will aid the proper articulation
in the descending scale.
Figure 8.7
Double Thirds Scales
The same pattern of practicing above can be applied to the ascending thirds.
Figure 8.8
Ascending Thirds
77
This piano etude is very straightforward in its technical difficulties. The process
of recollection of small sections can be attained by both a formal analysis and a subdivision that includes smaller sections parsed for memory recollection. While the formal
analysis provides an understanding of the piece, a smaller subdivision will be helpful in
the recollection of material for performance. An outline of these subdivisions is:
Section A (measures 1-16)
Sub section a1 mm. 1 to second beat of mm. 6
Sub section a2 second beat of mm. 6 to second beat of mm. 12
Sub section a3 second beat of mm. 12 to downbeat of mm. 16
Section B (measures 16 52)
Sub section b1 second beat of mm. 16 to downbeat of mm. 24
Sub section b2 downbeat of mm. 24 to downbeat of 38
Sub section b3 mm. 38 to downbeat of mm. 44
Sub section b4 mm. 44 to second beat of mm 52
Closing Section (measures 52-76)
Sub section CS1 second beat of mm. 52 to second beat of mm. 55
Sub section CS2 second beat of mm. 55 to 60
Sub section CS3 60 to 68
Sub section CS4 68 to 76
Interestingly, the three versions of this etude did not improve the original
capriccio. It was in the last version that Liszt decided to follow the original form exactly.
Occasionally Liszt substituted a dominant chord with a seventh chord with dominant
function. He also added a melodic answer to every occurrence of descending double third
78
scales. However, the texture and keyboard layout are identical, except for a few minor
exceptions where a doubling of a chord included an extra octave or an additional note.45
45
Altman, Grandes Etudes de Paganini, 177
79
CHAPTER 9
Etude Number Five in E Major La Chasse
The fifth piano etude is based on Paganini Capriccio Op. 1, No. 9 in E Major.
This piano etude is also known by the descriptive title of La Chasse, due to the allusion
to hunting calls, evoked by the employment of thirds, fifths, and sixths. These intervals
give the etude an aura or feeling of a hunting call. The formal design of capriccio 9 is
comprised of five sections; section A (measures 1-16), section B (measures 17-36),
section A (measures 37-52), section C (measure 53-94), section A (measures 95-111).
Section A is written in double notes to be played as if alluding to other
instruments. Here Paganini is very specific about the type of sound he expects from the
performer. As in other examples of his compositional method, Paganini requested the use
of exotic sounds in the violin. Such as imitando il Flauto play imitating a flute, or
imitando il Corno play imitating a Horn, or sulla tastiera play at the fingerboard.
Figure 9.1
Capriccio no. 9 (Section A)
80
The second section B is in the parallel minor mode. A three-note chord is added to the
beginning of each bar.
Figure 9.2
Section B (Triple-Stop Chords)
Section C is the longest section of the five. This section is divided into four sub-sections,
where the first sub-section (a) consists of octave arpeggios followed by ascending scales.
Sub-section (b) consists of motivic groups of 4 thirty-second notes ending in an eighth
note, followed by another (a) section in the relative major key as well as another (b).
The groups in section (b) are characteristic of the ricochet bowing technique, which is
required in order to achieve fast and accurate performance.
Figure 9.3
Section C Sub-section a
81
Figure 9.4
Section C Sub-section b
After ending in a Neapolitan sixth chord, section C returns to section A to finish

the capriccio. There are three types of technical problems the violinist must confront in
this piece. First, in section A, the violinist needs to perform a melodic line with double
stop chords. Second, in section B, the violinist needs to perform triple stop chords while
the melody continues uninterrupted. Finally, the ricochet bowing to perform the 32nd
notes needs to be clean and articulated.46 The piano etude shows a close rendition to the
original capriccio. The most salient difference is that the A section is repeated. The
resulting form for the etude is:
Piano Etude Formal Structure
Section B (measures 33-52)
Section C (measures 69-111)
In section A, the double notes are presented identical to the violin capriccio.
46
Altman, Grandes Etudes de Paganini, 182.
82
Figure 9.5
Section A First Double-Period
The second presentation of the double-period is done with a chordal arpeggiation in the
left hand as an accompaniment.
Figure 9.6
Section A Second Double-Period
According to Altman, Liszt further simplified the texture in section B, where a full chord
replaces the triple stops of Paganinis capriccio.47
Figure 9.7
47
Section B Double octaves and Interlocking Inner Melody
83
Section C shows the same procedures as the capriccio, where the octaves are doubled.
The changes occur in the glissando of both hands instead of scales.
Figure 9.8
Double Octave

In this piano etude there is once more the possibility of making a choice in the
distribution of the hands. While the score requires a specific separation of the hands other
subdivisions are possible.
Figure 9.9
Hand Distribution
In the score the pianist is asked to perform the third set of double notes with the left hand.
However, a re-distribution of the hands will allow the performer to play the whole
84
passage with the right hand with the exception of the highlighted double notes, which can
be played with the left hand. In the case of the double notes, a necessary exercise is to
perform them in triplets, repeating the pattern in order to solidify the sound and evenness.
Figure 9.10
Double Notes Exercise
In the second presentation of the theme, a left-hand chord arpeggiation is introduced. In

order to aid the performance of even notes Alfred Cortot provides a pattern of practicing
in his edition of the etudes.
Figure 9.11
Cortots Exercise for Evenness in the Left Hand Accompaniment
It is recommended that the pianist learn section B by fragmenting the material

where the inner melody is played alone without the accompanying chords. Then the
pianist proceeds to play the outer chords without the inner melody.
85
Figure 9.12a Inner Melody Alone
Figure 9.12b Without the Inner Melody
Moving to section C, the technical demands change to octaves and glissandos, and
to rapid finger runs and small triadic arpeggiation. The first step for the pianist is to
divide the sections into smaller units in order to practice each iteration of the octaves plus
glissando.
Figure 9.13
Subdivision of the Hands for Trill Performance
86
In the example above, the left hand can perform the lower notes of the right hand double
notes. This will allow for an easier and more accurate performance of the trill in the right
hand.
The motives of running five finger patterns and small triadic arpeggiation must be
practiced slowly, with a detached touch (staccato) in order to articulate the notes
properly. A metronome mark of 120 for each 32nd note should be followed in order to
keep continuity, as well as to avoid the temptation of practicing faster.
The etude concludes with a repetition of section A. However the left hand plays
the repeated two note groups from the E major triad. The pianist will find it helpful to
practice this pattern as follows, while playing the right hand. Once again the tempo must
be very slow, with metronome 90 for each 16th note.
Figure 9.14
Last Section A Left Hand Practice
87
CHAPTER 10
Etude Number Six in A Minor Theme and Variations
The sixth piano etude is based on Paganinis Capriccio Op. 1, No. 24 in A Minor.
The theme in this capriccio is among one of the most famous and quoted by other
composers, who used Paganinis theme to produce their own work either as a set of
variations or other arrangement for piano. Among the composers who have used the
theme to produce piano versions are Johannes Brahms, Robert Schumann, Franz Liszt,
Sergei Rachmaninoff, Ignaz Friedman, Witold Lutoslawski, and Fazil Say. In each of its
variations this capriccio addresses a wide array of technical difficulties.
The formal structure of the capriccio is constructed by a theme (12 measures
long), followed by 11 variations based on that theme, and a finale section. All variations
follow the theme structure, with the exception of variation 11, where the B section of the
variation is missing one bar (11 measures long instead of 12). At this point the capriccio
transitions to the final section. Each variation of the capriccio employs a technical
difficulty, which will be outlined below in the resulting translation for the piano
counterpart.
Figure 10.1
Capriccio no. 24 (Theme)
88
In its first four measures the theme implies a cadential motion from I to V. The B
section is sequential in nature and moves through the subdominant, mediant (relative
major), and tonic key areas, with a 2-measure cadential closure. This motion through
keys creates the following progression V/vi, iv, V/III, III, vii07, or ii, V6/4, Italian 6th, V7,
or i.48
Figure 10.2
Variation I (Triplets and Triadic Arpeggiation)
The first variation follows the same harmonic and formal pattern exercising the
performance of arpeggios in triplet figuration, while adding an embellished triad prior to
the arpeggiations.
Figure 10.3
Variation II (Rapid Finger Work)
In this variation Paganini works on the neighboring qualitites of the harmonic

structure, while mantaining a feeling of perpetual motion to the variation. In the
48
89
following figures the violin excerpts are provided to aid an overview of the violin
techniques that were the basis for the piano etude.
Figure 10.4
Variation III (Double Octaves)
Figure 10.5
Variation IV (Rapid Scale and Arpeggio Work)
Figure 10.6
Variation V (Broken Octaves and Leaps)
Figure 10.7
Variation VI (Double Thirds, and Double Tenths)
90
Figure 10.8
Variation VII (Triplets)
Figure 10.9
Variation VIII (Chords, Triple Stop Chords)
Figure 10.10 Variation IX (Arpeggios, Left hand Pizzicatto)
Figure 10.11 Variation X (Harmonics)
91
Figure 10.12 Variation XI (Double Stop Chords, Arpeggions, Leaps, Jumps)
Figure 10.13 Finale
The formal structure, as well as the harmonic outlining of the capriccio is

straightforward, which Liszt followed with only minor exceptions. The second variation
in the piano version contains a cadential extension, or addition of three measures. The
extension is a N 6/4 (iv 6/4) extending the arrival to (i).
Figure 10.14 Cadential Extension in Variation II
92
Figure 10.15 Variation VII Repeat49
The final change is in the finale, due to the restriction of range in the piano, one
arpeggio figure is eliminated, and a chromatic ascending-descending scale is added.50
Figure 10.16 Finale
49
According to the first edition of the score approved and revised by Liszt himself there
is an omission of the repeat sign in the first four measure of the variations. This would indicate a
change in the structure of the caprice. However, the question of whether or not this was a mistake
in the printing remains unanswered. As seen in figure 9.15 there is a double bar line indicating
the closing of the opening section. In his score Cortot does not include the double bar, and other
editions go as far as to add the repeat sign in measure four. Was it a mistake in the printing? Was
it intentionally omited? (if so, why?). There is no clear answer, it is up to the performer to choose.
50
See example on Etude 1, where the arpeggios starting the etude were reduced for the
same reason.
93
In this piano etude, there is once more the possibility of making a choice in the redistribution of the hands, which has occurred throughout the work. While the score
requires a specific separation of the hands as indicated in the original score, other
subdivisions are possible.
There are three different ways to redistribute the hands in the large arpeggiated
chords of the theme, all while maintaining the speed of performance.
Figure 10.17 Hand Re-distribution Theme Section
The first chord is outlined as written in the original (Figure 10.17 measure 1); the
second possible way of playing this chord relocates a note in the left hand allowing for
the thumb to be strong in the melodic outline (Figure 10.17 measure 2). The third
possibility crosses hands playing the upper note with the left hand (Figure 10.17 measure
3). Of the three options, the last one is the most risky, as the pianist opens the possibility
of mistakes by missing the cross of hands. Regardless of the subdivision, an issue arises
in measure 4, where a note needs to be held.
94
Figure 10.18 Sustained Note
In either case, the middle e (e5) needs to be sustained and tied to the next e4. By
redistributing the hands the pianist is able to produce a legato between those two notes.
Figure 10.19 Tied Notes
This type of subdivision also allows the thumb to outline the melody in the theme. Due to
the strength of the thumb, it makes it easier for the pianist to bring attention to the melody
by subdividing the hands in this way.
Figure 10.20 Melody in Thumbs
95
It is also important, if the pianist chooses this configuration of the hands, to practice the
melody alone with the thumb moving from note to note. This will allow for the melody to
be perceived properly once the chords are added.
Figure 10.21 Melody Alone
The first variation must be approached initially hands alone, since the main
difficulty is the juxtaposition of three against four. The metronome will prove
indispensable in the preparation of this section. The variation can be divided into four
distinct sections: section A (measure 25-28), section B (measures 29-32), section C
(measures 33-36), and section D (measures 37-40). It is important to notice that this
division is not part of a theoretical analysis, but rather a necessary parsing of the score in
order to approach it in terms of a practice routine, and the process of memorization or
chunking. The most successful way to practice this variation is to address first, only four
measures at a time. With the metronome at a slow speed (metronome = 50 for each
quarter note), the following combinations can be employed:
1. Right Hand Alone (measures 25-28) followed by
2. Left Hand Alone (measure 25-28)
3. Reduce the span to two measures
4. Right Hand Alone (measure 25-26) followed by
5. Left Hand Alone (measure 25-26) followed by
6. Right Hand Alone (measures 27-28) followed by
96
7. Left Hand Alone (measures 27-28)

8. Reduce the span to one measure (same procedure)
9. Play both hands together
In order to reinforce, two other exercises can be applied to this figuration.
Figure 10.22 Practice Suggestion
This exercise reinforces the grouping of three against four, while maintaining the
downbeat of the measure. Here also, the speed must be very slow, and it may be
appropriate to keep the hands alternating, until the feeling of each hand with the
metronome is assimilated.
Figure 10.23 Downbeat Incorporation
97
In this exercise the difficulty of three against four notes is omitted in order to reinforce
the downbeat motion of the exercise. Each of these suggestive exercises must be applied
to each individual section. It is important to keep the sections small (2 to 4 measures in
length). This facilitates rapid memorization, and the physical assimilation of keyboard
choreography.
Variation II is a rapid succession of four sixteenth-note groups. As seen in previous
chapters, the best approach to this section is once again at a slow speed controlled by the
metronome. This variation has an addition from its original capriccio, as Liszt added a
neighboring 6/4 chord in order to extend the arrival to the tonic. Nonetheless, the
variation can be divided into five distinct sections of 4 measures each.
The first procedure is to practice this variation staccato, in order to assimilate the
articulation of the finger work. Once this is accomplished, the figurations can be divided
in different rhythmic groupings.
Figure 10.24 Rhythmic Variations for Practice Purposes
These variants in rhythm can be applied to each section individually. The intention
behind this subdivision is to solidify and establish evenness in the four grouped notes by
the displacement of the accent. Therefore, all notes are reinforced while the pattern is still
the same.
98
One subdivision of the hand, which does not alter the sound, but makes the passage
conveniently easy, is located in measures 53-54.
Figure 10.25 Subdivision of the Hands
Variation III creates a complication, particularly for those pianists who are unable to
reach comfortably the span of a 10th. The practicing of left hand alone is imperative.
Further, if the pianist cant reach the 10th, a roll should be incorporated in its place. It is
important, even if it is roll, that the chords are play in tempo. When performing this
section, the pedal must catch the roll in its lower note, and the right hand must play the
chord with the last note of the roll.
Figure 10.26 Rolled Chords and Pedal Placement
99
The following variations can apply prior concepts in order to successfully practice them.
For example, Variations IV, VI, VIII, and IX will follow the same procedure of rhythmic
subdivisions. In Variation V employs the technique of jumping and moving fast across
the keyboard. Blocking chords will be beneficial for the practice of jumps and accuracy
in the broken chords. When practicing this section, the triplets will be practiced as written
while the double notes will be performed as chords.
Figure 10.27 Blocking Chords and Jumps
Variation VII requires the same practice of subdividing triplets where a fermata is added
to each note of the triplet, allowing for the different notes of the triplet to be solid in
sound.
100
Figure 10.28 Triplet Rhythmic Variation
In variation VIII it will be beneficial to practice the alternating chords together in order to
solidify the chordal progression. Further, when the variation is practiced in this manner,
the four-note pattern rhythmic subdivision may be employed as well.
Figure 10.29 Variation VIII Chordal Practice
Variation X requires the use of a constant trill in the left hand. The following formula
101
provides an excellent preparation for the execution of this passage, and the proper work
for perfecting this trill.
Figure 10.30 Exercise to Perfect and Solidify Trill Performance
Variation 11 and the finale are constructed with the four-note procedures explained
earlier. Therefore, the practice pattern is the same, including the four against three
suggestions that can be applied in measures 208-210 and 211 through 214.
102
CONCLUSION
Franz Liszts Paganini Etudes are a fascinating set of piano pieces to study,
practice, and perform. The set addresses different technical difficulties, needed by
pianists who aspire to perform works of significant virtuosity. Unlike other sets of etudes
by Frederic Chopin or the Transcendental Etudes by Liszt (which approach the hour mark
in performance), the duration of the Paganini etudes is under 30 minutes, making the
study of the complete set accessible and attainable. Furthermore, the Paganini etudes still
provide a technical foundation for the development of piano technique and musical
virtuosity, which every pianist should research and perform. By translating (or
transcribing) these piano etudes, Liszt created a new set of pieces that, while they
approximate the elements of the original capriccios, provide a useful tool for the piano
medium. Virtuosity is not only found in technical devices alone, but in the musical
representation of difficult passages without departing from the development of melodic
and musical gestures.
Each individual etude addresses a technical skill to be mastered, while providing a
musical challenge that must transcend the written page. In the first etude the pianist
encounters tremolos with unrelenting rotational motion in the arms that require lightness
of touch and the ease of free rotation in the arms and wrists. In the second etude the
pianist is faced with the daunting challenge of octave work, and its demand for strength.
Lightness in wrist motion and an even hand position are required for the successful
performance of this etude. The third etude La Campanella must be executed with a
light touch in order to successfully accomplish long reaches, accurate leaps and jumps,
and long trills. The physical topography of the keyboard must be assimilated in the
103
muscular memory of the pianist in order for this etude to be successful. The fourth etude
presents the pianist with the crossing of hands, or the repetition of notes if the choice to
redistribute the hand positions is made, coupled with the double notes of the fifth etude.
Finally all techniques and skills come together for a final rendezvous in the last etude,
where each technical skill is explored during each presentation of the variations.
The Paganini Etudes are transcendental in worth and worthy of both studying and
performing. They provide a wealth of technical devices and veritable workouts for the
aspiring pianist, and the professional alike. These etudes, while maintaining a strong
likeness to their original in the violin capriccio, explore a realm of pianism setting them
apart as works of virtuosity for the piano. Liszts encounter with the famed violinist set
in motion a work that stands among the pillars of the piano repertoire to this day.
104
BIBLIOGRAPHY
Altman, Ian. Liszt Grand Etudes After Paganini: A Historical and Analytical Study.
D.M.A. Thesis, University of Cincinnati, 1984.
Banowetz, Joseph. The Pianists Guide to Pedaling. Bloomington: Indiana University
Press, 1992.
Bernstein, Seymour. With Your Own Two Hands: Self-Discovery Through Music. New
York: G. Schirmer, 1981.
Chaffin, Roger, Gabriela Imreh, and Mary Crawford. Practicing Perfection: Memory and
Piano Performance. New Jersey: Lawrence Erlbaum Publishers, 2002.
Conway, James Bryant. Musical Sources for the Liszt Etudes DExecution
Transcendante: A study in the Evolution of Liszts Compositional and Keyboard
Techniques. D.M.A. Dissertation, University of Arizona, 1969.
Cortot, Alfred. Rational Principles of Pianoforte Technique. Translated by R. Le RoyMetaxas. Paris: Editions Salabert, 1930.
Duval, David. The Essential Canon of Classical Music. New York: North Point Press,
2003.
Ericsson, K.A., Krampe, R.T. and Tesch-Romer. The Role of Deliberate Practice in the
Adquisition of Expert Performance. Psychological Review, 100 (1993): 363-406.
Fink, Seymour. Mastering Piano Technique: A Guide for Students, Teachers, and
Performers. Portland: Amadeus Press, 1992.
Frisking, James. The Principles of Pianoforte Practice. New York: H. W. Gray, 1921.
Gazelloni, Giuseppe. Nicolo Paganini: The Complete Works for Guitar Solo. Heidelberg:
Chaterelle Verlag, 2006.
Gerig, Reginald. Observation on Franz Liszt Piano Technique. Journal of the American
Liszt Society, 18 (1985): 3-28.
Gieseking, Walter and Karl Leimer. Piano Technique Consisting of the Two Complete
Books: The Shortest Way to Pianistic Perfection and Rhythm, Dynamics, Pedal
and Other Problems of Piano Playing. New York: Dover Publications, Inc., 1972.
Gordon, Stewart. A History of Keyboard Literature: Music for Piano and Its
Forerunners. New York: Schirmer Books, 1996.
105
Kendall, Alan. Paganini: A Biography. London: Chappell and Company, 1982.

Kim, Younshin. An Analytical Study of Liszts Grandes Etudes de Paganini, Nos. 3
and 6. D.M.A. Dissertation, University of Washington, 1999.
Leschetiszky, Theodor. The Leschetiszky Method: A Guide to Correct and Beautiful
Piano Playing. New York: Dover Publications, reprint 1997.
Liszt, Franz. An Artists Journey. Translated by Charles Suttoni. Chicago: University of
Chicago Press, 1989.
________. The Letters of Franz Liszt, ed. La Mara. Translated by Constance Bache. New
York: Charles Scribners Son, 1894.
________. Technical Studies. Budapest: Edition Musica Budapest, 2005.
La Mara, ed. The Letters of Franz Liszt. Translated by Constance Bache, 3 vols.
New York: Charles Scribners Sons, 1894.
________. Technical Exercises for the Piano. Edited by Julio Esteban. Port Washington,
New York: Alfred Music, 1971.
Musafia, Julien. The Art of Fingering in Piano Playing. New York: MCA Music, 1971.
Neill, Edward. Paganini, Grove Music Online, http://www.grovemusic.com.proxy/
libraries.uc.edu (Accessed 15 July 2010).
Newman, William. The Pianists Problems: A Modern Approach to Efficient Practice
and Musicianship Performance. New York: Da Capo Press, 1986.
Pulver, Jeffrey. Paganini: The Romantic Virtuoso. London: Herbert Joseph Limited,
1936.
Rivera, Lino. Transcriptions, Arrangements, Paraphrase, and Metamorphoses for Solo
Piano. D.M.A. Thesis, University of Maryland, 1997.
Robertson, Masson. The Transcription Process in Schumanns Piano Etudes on Violin
Caprices of Paganini. D.M.A. Thesis, University of Cincinnati, 1973.
Rosen, Charles. The Romantic Generation. Cambridge: Harvard University Press, 1995.
Sandor, Gyorgy. On Piano Playing: Motion, Sound and Expression. New York: Schirmer
Books, 1981.
Sheppard, Leslie. Paganini: Containing a Portfolio of Original Drawings by Vidio
Polikarpus. New Jersey: Paganiana Publications, 1979.
106
Stowell, Robin. Violin Technique and Performance Practice in the Late Eighteenth and
Early Nineteenth Centuries. Cambridge: Cambridge University Press, 1985.
Walker, Alan. Franz Liszt: The Virtuoso Years. New York: Cornell University Press,
1983.
________. Franz Liszt: The Weimar Years. New York: Cornell University Press, 1989.
________. Franz Liszt: The Final Years. New York: Alfred Knopf, 1996
________. Reflections on Liszt. Ithaca: Cornell University Press, 2005.
SCORES
Paganini, Nicolo. 24 Capriccios for Solo Violin. Score. Public Domain, International
Music Library Project, http://imslp.org/wiki/
24_Caprices_for_Solo_Violin,_Op.1_(Paganini,_Niccol), (Accessed January 11,
2010), 1819.
________. 24 Caprices for Solo Violin. Milan: Ricordi, 1836.
________. 24 Capricci fr violine solo. Mnchen: G. Henle Verlag, 1998.
Liszt, Franz. Etudes in Three Volumes: Volume II-9908 12 tudes dexcution
transcendante and Grande Fantaisie de Bravoure sur la Clochette de Paganini.
New York: Belwin Mills Publishing Company, 1914.
________. Etden fr Pianoforte zu zwei Hnden. Score. Leipzig: Breitkopf & Hrtel,
1910.
________. Grandes Etudes de Paganini. Score. Budapest: Editio Musica Budapest, 2006.
________. 6 tudes daprs Paganini. Score. Paris: Salabert Editions, 1949.
________. Grandes tudes de Paganini, S.141, Plate 8368-9. Leipzig: Breitkopf &
Hrtel, 1851.
107
Appendix
The Transcription Process in Franz Liszts
Grandes tudes de Paganini S.141
Compendium of Piano Technical Devices
With suggested exercises from Liszts Technical Studies
(TE = Liszts Technical Studies in Three Volumes, Edition Musica Budapest)
Etude no. 1 in G Minor Tremolos
1. Examples 1
(Arpeggios in parallel motion - 3rd and 6th apart in both Major and Minor Keys /
Descending scales - 3rd and 6th apart in both Major and Minor Keys)
2. Example 2
(Tremolos - Chordal tremolos - Leaps and extensions)
Suggested exercises for Etude no. 1
1. TE VOL I No. 13, Scales in Sixths
2. TE VOL I No. 14, Scales in Thirds
3. TE VOL III No. 68, Tremolos
4. TE VOL III No. 61, Leaps by extending the intervals from the tenth to the
second octave
108
Etude no. 1 in G Minor Tremolos

Example 1 (Arpeggios in parallel motion - 3rd and 6th apart in both Major and
Minor Keys / Descending scales - 3rd and 6th apart in both Major and Minor Keys)
Example 2 Tremolos
109
Example 2 Chordal Tremolos
Example 2 Leaps and extensions
110
Etude no. 2 in Eb Major Octaves

1. Examples 1
(Scales in rapid passages with alternating hands)
2. Example 2
(Alternating triads and Octaves)
3. Example 3
(Octave Passages)
1. TE VOL I No. 15, Scales with alternating hands
2. TE VOL II No. 31, Sixth chord scales with various fingerings
3. TE VOL II No. 32, Scales in thirds, sixths and sixths chords with alternating
hands
4. TE VOL II No. 42, Octave scales with alternating hands
5. TE VOL II No. 40, Octave chord studies
6. TE VOL II No. 56, Chord exercises
7. TE VOL II No. 57 a and b, Octave leaps and broken octaves
Etude no. 2 in Eb Major Octaves
Example 1 (Scales in rapid passages with alternating hands)
111
Example 2 (Alternating triads and Octaves)
Example 3 (Octave Passages)
112
Etude no. 3 in G# Minor La Campanella

Examples 1
(Leaps, repeated notes, trills)
1. Example 2
(Rapid Scale work, alternating scales)
2. Example 3
(Octave Passages, repeated octaves and chords)
1. TE VOL I No. 9, Repeated notes
3. TE VOL I No. 17, Chromatic exercises
4. TE VOL II No. 55, Octave exercises with various fingering
5. TE VOL III No. 59, Leaps in various intervals and chords
6. TE VOL III No. 60, Leaps by extending the intervals from the 10th to the 2nd
octave
7. TE VOL III No. 61, Leaps in contrary motion
8. TE VOL III No. 62, Leaps with tremolo accompaniment
9. TE VOL III No. 63, Chords in open position
Etude no. 3 in G# Minor La Campanella
113
Examples 1 (Leaps, repeated notes, trills)
114
115
Example 2 (Rapid Scale work, alternating scales)
Example 3 (Octave Passages, repeated octaves and chords)
116
117
Etude no. 4 in E Major Arpeggios

1. Examples 1
(Arpeggios in alternating hands, double thirds)
2. Example 2
(Chord and repeated notes)
1. TE VOL I No. 23-24, Scale-like exercises in thirds, in parallel and contrary
motion
2. TE VOL I No. 28, Major, minor and chromatic scales in thirds
3. TE VOL II No. 48, Broken Chords
4. TE VOL III No. 64-67, Broken chords in open position
118
Etude no. 4 in E Major Arpeggios

Examples 1 (Arpeggios in alternating hands, double thirds)
Example 2 (Chord and repeated notes)
119
Etude no. 5 in E Major La Chasse

1. Examples 1
(Alternating double notes, thirds, fifths, and sixths)
2. Example 2
(Octave alternating, chords alternating hands)
3. Example 3
(hand crossing, rapid finger work)
1. TE VOL I No. 8, Rapid finger work
4. TE VOL II No. 46, Chord trills with alternating hands
5. TE VOL II No. 53, Broken chords in thirds
6. TE VOL III No. 58, Chord leaps and broken chords
120
Etude no. 5 in E Major La Chasse

Examples 1 (Alternating double notes, thirds, fifths, and sixths)
Example 2 (Octave alternating, chords alternating hands)
Example 3 (hand crossing, rapid finger work)
121
122
Etude no. 6 in A Minor Theme and Variations

1. Theme (Leaps)
2. Variation I (Three against four, arpeggios)
3. Variation II (Finger works)
4. Variation III, IV and V (Octave work, sixths)
5. Variation 6 (Scales in chords, thirds, and octaves)
6. Variation 7 (Trills)
7. Variation 8 (Alternating chords)
8. Variation 9 (Broken chords)
9. Variation 10 (Trills)
10. Variation 11 and Coda (Broken chords, broken chords in open position, triads)
This etude is a compendium within the series of Paganini capriccios, where most of
technical demands are displayed as a final recollection of the 24 series
1. TE VOL I No. 28, Major, minor and chromatic scales in thirds
2. TE VOL II No. 40, Octave chord studies
4. TE VOL II No. 43, Chord studies, diminished 7th chords
5. TE VOL II No. 45, Trills in thirds, fourths, sixths, and octaves
6. TE VOL II No. 46, Octave trills with alternating hands
7. TE VOL III No. 63, 64-67, Chords in open position
123
Etude no. 6 in A Minor Theme and Variations

Theme (Leaps)
Variation I (Three against four, arpeggios)
Variation II (Finger works in alternating hands)
Variation III, IV and V (Octave work, sixths)
124
Variation 6 (Scales in chords, thirds, and octaves)
Variation 7 (Trills)
Variation 8 (Alternating chords)
Variation 9 (Broken chords)
125
Variation 10 (Trills)
Variation 11 and Coda (Broken chords, broken chords in open position, triads,
arpeggios)
126

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University of Cincinnati

This work and its defense approved by:

Committee member: Steven Cahn

Committee member: Elizabeth Pridonoff

Document Of Defense Form

A Document Submitted to the

In partial fulfillment of the

Chapter 2 The Piano Etudes

Chapter 3 The Learning Process

Chapter 4 Outline of the Study Guide

Chapter 5 Etude Number One in G minor Tremolo

Chapter 6 Etude Number Two in Eb Major Octaves

Chapter 7 Etude Number Three in G# Minor La Campanella 60

Chapter 9 Etude Number Five in E Major La Chasse

Chapter 10 Etude Number Six in A Minor Theme and Variations

Capriccio for Violin Op. 1 No.1

Etude No.4 in E Major

Etude No.4 in E Major (second version)

Etude No. 4 in E Major

String of Random Letters

String of Letters Organized in a Logical Pattern

Capriccio Op. 1 no. 6 Main Theme

Capriccio Op.1 no. 5, Prelude (A minor)

Capriccio Op.1 no. 5, Postlude (A Major)

Capriccio Op.1 no. 5, Prelude (G minor)

Capriccio Op.1 no. 5, Postlude (G major)

Capriccio Op.1 no. 6, Theme and Tremolo

Piano Etude Prelude Section First Gesture

Piano Etude Prelude Section Second Gesture

Piano Etude Prelude Section Third Gesture

Piano Etude Prelude Section Closing Gesture

Chromatic Scale Practice Pattern

Section A Left Hand or Both Hands, Tremolo Exercise

Section B Tremolo Exercise

Section B Sequential patterns (measures 27 28)

Alfred Cortot Rhythmic Pattern

Introduction section (measures 1-4)

Section A Scales and Spiccato Chords

Section B Octave Work

Closing of the Coda (segue)

Prelude First Sub-division

Cadenza First Gesture

Cadenza Second Gesture and Final Chord

Sub-section [a1] Rapid Scale Work

Sub-section [a2] Interlocking Chords

Sub-section [a3] Interlocking Octaves

Section B Octave Work

Triplet Practice Pattern

Scale Pattern Hand Distribution

Rhythmic Variations for Four-Note Groups

Arpeggio and Blocks

Theme A Melodic Material

Theme B Melodic Material

Theme A, Second Presentation of the Theme (2 variants)

Theme B, Second Presentation of the Theme

Theme A, Third Presentation of the Theme (2 variants)

Theme B, Third Presentation of the Theme

Theme A, Fourth Presentation of the Theme (1 variant)

Melody and Leaps

Right Hand Octave Arpeggiation

Cortots Octave Exercise

Trills and Melody in the Same Hands