There are two origins for Chopin's two sets of Etudes, comprising 24 pieces in total.

One is Johann Sebastian Bach's The Well-Tempered Clavier, specifically the Preludes and Fugues in 24 keys. While the compilation method of such collections was not Bach's invention, The Well-Tempered Clavier set a monumental standard as a model for all musical techniques and forms, and as a norm for learners. Indeed, many composers, both before Chopin (such as Clementi and Kalkbrenner) and after him (such as Liszt, Bartók, and Rachmaninoff, and even Paganini for instruments other than piano), have released collections of Etudes as an homage to Bach. During the latter half of the 18th century, preludes and etudes were often paired; however, as the 19th century began, this combination became less suitable for the times, and they began to be composed as separate collections. Chopin himself also published 24 Preludes, Op. 28, in addition to the Etudes, Op. 10 and 25.

The other origin, of course, lies in the collections of etudes written prolifically as piano instruction books in the first half of the 19th century. These served as comprehensive examples of musical forms and performance techniques, as well as practical training programs. Chopin particularly drew inspiration from the works of Clementi and Moscheles, but he wrote his own etudes "in his own unique way," which was absent in the etude collections of his predecessors. That is, each piece reflects Chopin's conviction that advanced etudes should be advanced music. The reason these pieces are widely loved today, transcending the realm of mere study exercises, is likely due to their lyricism, woven from beautiful melodies and harmonies, which indeed constitutes advanced music. However, there is no doubt that these were indeed practice exercises for himself. In other words, Liszt later did by treating the term "etude" as a genre name. And the reason why these pieces are still invariably assigned to students as a challenge in the final stages of piano education today is that, through all 24 pieces, one can thoroughly learn not only technique but also the essence of Chopin's musicality.

Etudes, Op. 10

The Etudes, Op. 10, were dedicated to Liszt as a mark of respect for him as the greatest pianist of his time (though Chopin did not highly regard Liszt as a composer and maintained a distance from him as a friend in later years). This dedication was likely aimed at eliciting praise from this outstanding virtuoso, and Liszt, as desired, offered unstinting commendation.

The key arrangement of the 12 pieces is as follows:

C major: A minor: E major: C-sharp minor: G-flat major: E-flat minor: C major: F major: F minor: A-flat major: E-flat major: C minor:

One can observe traces of an attempt to place C major at the 1st and 7th positions, and to group the first half with sharp keys and the second half with flat keys (G-flat major is the enharmonic equivalent of F-sharp major). Furthermore, a gradual tonal connection can be observed between each piece. That is, although the relationships are not always constant, they are within the range of related keys. Notably, Etude Op. 25 No. 1 is in A-flat major, creating a structure where no tonal incongruity arises when performing the two collections consecutively.

Etude No. 1

Its C major key and the gradual harmonic changes within a consistent figuration clearly indicate an homage to the Prelude from Book 1, No. 1 of Bach's The Well-Tempered Clavier.

The practice objective is the flexible use of the right wrist and elbow, and managing arm fatigue.

Etude No. 2

The practice objective is the handling of the right-hand inner voice.

Etude No. 3 ("Tristesse")

The practice objective is the handling of both inner voices, and the cantabile expression of the upper voice.

Etude No. 4

This method of melody construction was known as 'spinning out' (Spinnlied) in Bach's time. Small motives gradually develop through variation and inversion.

The practice objective is precise and even articulation in the right hand, and contrast between sections.

Etude No. 5 ("Black Key")

Since the right hand uses only black keys, the power of functional harmony is diminished, creating a somewhat exotic sound.

The practice objective is black-key technique.

Etude No. 6

An example of non-contrapuntal polyphony. Three parts are consistently maintained.

The practice objective is the handling of the left-hand inner voice.

Etude No. 7

The practice objective is legato playing of double notes.

Etude No. 8

The practice objective is right-hand passage work, especially arpeggiated figures spanning a wide range.

Etude No. 9

The practice objective is left-hand arpeggiated figures.

Etude No. 10

Due to the slurs and accents added by Chopin, different meters appear in both hands.

The practice objective is contrasting accents in both hands, and left-hand arpeggiated figures including leaps.

Etude No. 11

The practice objective is grasping wide arpeggios with both hands.

Etude No. 12 ("Revolutionary")

Its common name was given by Liszt. However, while it is true that Chopin learned of the Russian invasion of Warsaw (which occurred in December of the previous year) in Stuttgart in 1831, while en route from Poland to Paris, the popular belief that he composed the Revolutionary Etude in a single burst out of despair and fury is a myth. It is believed that the conception of this piece predates that event, and he may have begun composing it in the autumn of the previous year. Furthermore, while it is indeed full of improvisatory passage work, as is always the case with Chopin's works, the improvisatory quality is merely an effect; the Revolutionary Etude is also meticulously calculated and well-crafted down to the smallest detail.

The practice objective is precise articulation of the left-hand's intricate figures, right-hand octave technique, and perhaps the performance of fortissimo itself.