Moszkowski's Etudes Op. 72, consisting of 15 pieces, are well-known, but this collection serves as a preparatory stage for practice. When used as teaching material, the approximate level would be that of Czerny's Op. 299 (30 Etudes) or Op. 740 (40 Etudes).

These etudes not only provide technical finger training for "playing fast" but also allow for the study of musical performance techniques by following expressive indications such as legato and non-legato, cantabile, and leggero. By utilizing changes in timbre based on chords and keys, even more expressive performances will be possible. Furthermore, the differentiation of melodies in polyphonic textures is also required.

This collection is divided into two parts, each consisting of 10 pieces. The first part primarily focuses on smooth legato, while the second part introduces a variety of playing techniques, including non-legato and leggero.

No. 1: G major, 4/4 time, Con moto

Both hands feature intricate movements with broken double stops. This is a fundamental exercise for finger independence, while also cultivating a sense of dynamics through ascending and descending scales.

No. 2: C major, 4/4 time, Vivace

An exercise for the right hand, playing strong and intricate notes. Polyphonic differentiation is required in the middle section.

No. 3: C major, 4/4 time, Vivace

Conversely to No. 2, this piece focuses on forte playing for the left hand.

No. 4: F major, 2/4 time, Allegro

Both hands feature movements in seconds, serving as an exercise for trills in each finger. While previous pieces had relatively simple harmonies, the harmony in the middle section of this piece is rich in variation, so attention should be paid to timbral differences. It also serves as an exercise for differentiating multiple voices with one hand.

No. 5: B-flat major, 4/4 time, Tempo animato

Primarily an exercise for the left hand. The right hand's chords change every beat, allowing for the study of harmonic sense while maintaining vertical alignment to prevent unevenness.

No. 6: E-flat major, 12/8 time, Allegro ma non troppo

Consists of parallel movements in both hands, maintaining intervals of thirds or sixths. It is crucial to maintain vertical alignment and balance between the two notes, as well as to remember the dynamics created by scalar ascending and descending movements.

No. 7: G major, 4/4 time, Allegro brillante

An exercise for right-hand scales and broken chords. In the middle section, the left-hand accompaniment shows expressive changes by differentiating between staccato and legato. Furthermore, the accents on the second and fourth beats enhance the scherzando effect. The left hand is required to perform a variety of techniques, including chords, scales, legato, and staccato.

No. 8: B minor, 4/4 time, Moderato

A three-voice piece. The inner voices are alternately taken by the left and right hands, so listen carefully to ensure a smooth melody, and do not forget the melancholic mood.

No. 9: G major, 12/8 time, Comodo

An exercise in thirds. Play at a good tempo in 12/8 rhythm, ensuring precise vertical alignment of both hands. It is also instructed to play the melody formed by chords with legato.

No. 10: G minor, 4/4 time, Andante con moto

The final piece of the first part is a three-voice piece, similar to No. 8. However, the inner voices are more intricate, increasing their presence. It is a climactic piece woven from a cantabile horizontal flow and vertical chords.

No. 11: C major, 4/4 time, Allegro ma non troppo

Entering the second part, the instruction for non-legato appears for the first time. The contrast between piano non-legato and forte legato is characteristic. Furthermore, overall dynamics, not just ascending and descending notes, are required.

No. 12: C major, 4/4 time, Veloce

An exercise for right-hand leggero. Despite being in C major, it begins on the dominant and does not settle on the tonic until the final eight measures. It is an unstable, wind-like piece.

No. 13: F minor, 3/4 time, Con moto ma non troppo

An exercise in grasping staccato chords firmly without scattering. Be mindful of slurs to avoid cutting too short, and ensure the melody formed by the top notes of the chords flows smoothly.

No. 14: C major, 6/8 time, Animato e leggero

Requires a light performance with a 6/8 rhythm. It is important to maintain a sense of meter, ensuring evenness of notes in the left hand while keeping the right hand's timing precise.

No. 15: E-flat major, 4/4 time, Allegro non troppo ma molto energico

An exercise in powerful arpeggios. Primarily handled by the right hand, but interplay with the left hand is inserted midway, with the downbeats forming a single melody.

No. 16: G minor, 12/8 time, Allegro energico

Arpeggios in unison for both hands. While there is limited figural variation, crescendo-diminuendo indications are frequent, requiring differentiation between forte and piano.

No. 17: E-flat major, 3/4 time, Moderato e cantabile

Left-hand arpeggio practice to play smoothly without disturbing the cantabile melody in the right hand.

No. 18: A minor, 2/4 time, Vivo

Consists of figures with broken and revolving double stops. An exercise in quickly grasping intervals of 3rds, 4ths, and 6ths, while simultaneously feeling the chords that change every half beat.

No. 19: E major, 4/4 time, Presto

A continuous series of figures primarily using thirds and sixths. Practices intricate finger movements that frequently use black keys. Lightness is required at a presto tempo.

No. 20: G-flat major, 2/2 time, Allegro moderato

The final piece practices continuous double stops in thirds. Being in a key with six flats and frequent use of black keys, it is a challenging piece to control the vertical balance of notes and the flow of the melodic line.