The second piece was composed in 1868, with the rest following in 1877. The premiere, consisting of excerpts from three pieces, was given by Marie Jaëll on March 2, 1878, at a concert of the Société Nationale de Musique.  

Among these etudes, the final piece, "Étude en forme de Valse" (Étude in Waltz Form), is generally the most well-known. However, from the perspective of Saint-Saëns's studies, the "Prélude et Fugue" (Nos. 3 and 5), dedicated to the brothers Anton and Nikolai Rubinstein respectively, are particularly noteworthy. While many might first think of Bach when "Prélude et Fugue" is mentioned, the same holds true for Saint-Saëns, who was indeed influenced by Bach. Stravinsky is often described as a "chameleon composer" because he constantly changed his style. Similarly, Saint-Saëns can also be called a chameleon composer due to his eclectic taste, which involved reinterpreting and transforming various styles. Examples include the Elizabethan sound in his Shakespeare-based opera Henry VIII, the Bach-esque fugues in the oratorio Le Déluge (Noah's Flood), and countless works with Oriental and exotic influences, epitomized by the opera Samson et Dalila. Thus, it can be said that Saint-Saëns prepared this movement long before Stravinsky championed Neoclassicism with his "Back to Bach" motto. Saint-Saëns himself stated in his writings that during his student days at the Conservatoire, whenever his composition professor frequently canceled classes, he would go to the library and voraciously study both old and new music, leaving no doubt about his deep understanding of Bach.

No. 1: Prélude: Con bravura: C major: 4/4 time

No. 2: Pour l'indépendance des doigts (For the Independence of the Fingers): Andantino malinconico: A minor: 4/4 time

• An exercise in making the melodic line stand out amidst repeated chords.

No. 3: Prélude et Fugue: Allegro (Prélude), Animato (Fugue): F minor: 4/4 time (Prélude), 2/2 time (Fugue)

No. 4: Étude de rythme (Rhythmic Étude): Andantino: A-flat major: 2/4 time

• An exercise in accurately playing two eighth notes and a triplet, appearing alternately in the left and right hands, or with different fingers within one hand, each independently.

No. 5: Prélude et Fugue: Allegro moderato (Prélude), Moderato (Fugue): A major: 4/4 time

No. 6: Étude en forme de Valse (Étude in Waltz Form): Tempo di Valse: D-flat major: 3/4 time

• The contrast between the first theme, struck in unison, and the impressive second theme, a languid melody with a rhythm broken by quadruplets and chromatic progression, is vivid and engaging. The coexistence of dazzling virtuosity and a languid atmosphere conveys the ambiance of salon music of the time, yet it is thoroughly developed, making it a substantial work for concert performance.