No. 1 in C Major

First, let me tell you that there is absolutely no need to be discouraged if you cannot play this etude well. Chopin's etudes vary in difficulty for different individuals. For example, there are incredible cases where a performer who plays a magnificent Op. 10 No. 1, so fast that you've never heard anything like it, finds Op. 10 No. 5 completely unplayable. The reverse is also true. For instance, one might be able to play Op. 10 No. 2 but not Op. 25 No. 11. In any case, with Chopin's etudes, while there are virtuosos who record the complete set, most pianists invariably have their strengths and weaknesses within them. Incidentally, I have never played this myself, but I suspect it would be a weakness for me.

There is no doubt that having large hands is an advantage when playing this etude. Ultimately, taking the first measure as an example, for the four notes C G C E, fingers 1, 2, 4, and 5 are assigned. Finger 1 is not an issue, but it is crucial how securely fingers 2, 4, and 5 grasp the keys. For instance, try playing these four notes, C1 G2 C4 E5 C4 G2 C1 G2 C4 E5 C4 G2, ascending, descending, and moving back and forth within a 10th. Simply put, if you can play that, then it's just a matter of moving up and down by octaves. Identify which finger causes the misplayed notes.

For example, if you can play just the first beat (CGCE) but then struggle when moving to the next CGCE, that becomes a different problem. The basic unit consists of these four notes. And even if the four notes seem to be played without issue at first glance, if there is a weak finger among them, that finger might not sound or cause errors when the speed is increased.

However, being able to play measures 1-2 does not mean you can play the rest of this etude. There is no other way than to solve the numerous patterns written throughout the piece one by one. For instance, measures 30 and 32 are measures that cause many learners to despair. If I had to play this, I might add the left hand for measures like these. Since my fifth finger is extremely short, I might only be able to play it this way. For example, if you meticulously practice only measures 1-2, become able to play them in 2-3 days, gain a secure finger sensation, and feel that "I might be quite good at this piece," then by all means, continue your study.

Musical Interpretation

Now, I will discuss the musical interpretation of this etude. It is not uncommon for pieces to consist solely of arpeggiated chords spanning one or two measures. For example, Bach's Prelude No. 1 from Book 1 of the Well-Tempered Clavier. The structure is similar, isn't it? When encountering such a piece, it's a good idea to first play all the chords as blocks, without arpeggiating them. This significantly shortens the time from one chord to the next, allowing you to clearly understand the progression and resolution between chords.

As a tip, in the case of this piece, consider each 8-measure section as a phrase. The number of chords within these 8 measures varies depending on each unit. Let's take the first 1-8 measures as an example:

• Measures 1-2 are CEG.
• Measure 3 is FAC.
• Measure 4 is F# A C E.
• Measure 5 is GBD.
• Measure 6 is D F# A C.
• Measure 7 has a G pedal point in the bass, so consider it a borrowed chord, and above that, D F Ab C.
• Measure 8 is D F G B.

For example, measure 5 can be seen as the F# from the tension in measure 4 resolving to G, so this G might be weak. Also, when considering that the Ab in measure 7 resolves to G in measure 8, and C resolves to B, you can see that measure 8 should be softer than measure 7. This is merely an example. There are various ways of thinking, so ultimately it is left to the performer, but the performer should consider these harmonic progressions delicately and ensure the performance is never bland or featureless.

Also, pay attention to the bass movement. Please look at measures 17 to 24. The bass is A here, but beyond that, the progression is B A G# A G F E. Thus, within these 8 measures, the goal is F in measure 21, where the tension is highest. Subsequently, that F resolves to E in the next measure, so measures 23-24 should be softer than measures 21-22, and so on.

Furthermore, consider the color of the chords. For example, the chord in measure 25 is very shocking. It's a soft chord, as if suddenly transporting you to another world. For such chords, use the soft pedal to change the color.

And furthermore, considering the aforementioned progression in 8-measure units, there should be sections within one 8-measure unit and another where you want to proceed straight through, and sections where you want a little more time. For example, measure 8 is the end of the first 8-measure unit, but perhaps you don't need to wait too long before entering measure 9? However, doesn't measure 16 feel like the end of a sentence, like a period in writing? In that case, the next A minor section feels like a completely new story is beginning, so take a little time before entering measure 17. This makes it very easy to listen to and clarifies the structure. I believe you should feel free to take a "breath" wherever necessary.