Études (Chopin)

The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. There are 27 études overall, comprising two separate collections of 12, numbered Op. 10 and Op. 25, and a set of three without opus numbers.^[1]

History

Composition

Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces in the concert piano repertoire. Because of this, they remain popular and are often performed in both concert and private stages.^[2] Some are so popular they have been given nicknames; among these are Op. 10, No. 3, sometimes called Tristesse ("Sadness") or "Farewell" (L'Adieu), the "Revolutionary" (Op. 10, No. 12), "Black Keys" (Op. 10, No. 5), and "Winter Wind" (Op. 25, No. 11). None of these nicknames are of Chopin's creation.^[2]

All 27 études were published during Chopin's lifetime; Op. 10, the first group of 12, was written between 1829 and 1832 and published in 1833, in France, Germany, and England. The 12 études of Op. 25 were composed at various times between 1832 and 1835 and published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840 and in England in January 1841.^[2] Accompanying copies of these early editions are usually several manuscripts of a single étude in Chopin's hand and additional copies made by Chopin's friend Jules Fontana, along with editions by Chopin's student Karol Mikuli.^[2]

Impact

Although sets of exercises for piano had been common since the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny wrote the most significant ones), Chopin's études not only presented an entirely new set of technical challenges but were the first to become a regular part of the concert repertoire. They combine musical substance and technical challenge in a complete artistic form.^[3]

The études' effect on contemporaries such as Franz Liszt is apparent from the revision Liszt made to his series of concert études after meeting Chopin. Other composers after him, such as Schumann, Debussy, Prokofiev, and Rachmaninoff, wrote études influenced by Chopin's.^[4]

Polish musicologist Tadeusz A. Zieliński wrote of Op. 10, "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style."^[5] Chopin's études remain well-known, and several have lodged themselves in popular music, movies, and television shows.^{[citation needed]}

List of Études

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Op. 10

The first set of Études was published in 1833 (although some were written as early as 1829). Chopin was 23 years old and already famous as a composer and pianist in the salons of Paris, where he made the acquaintance of Franz Liszt. Subsequently, Chopin dedicated the entire opus to him: "à mon ami Franz Liszt" ("to my friend Franz Liszt").

According to Krystyna Kobylańska, nos. 8, 9, 10, and 11 date from October/November 1829, nos. 5 and 6 probably from summer 1830, nos. 1 and 2 from November 2, 1830, no. 12 probably from September 1831, no. 7 from spring 1832, no. 4 from August 6, 1832, and no. 3 from August 25, 1832.^{[full citation needed]}

Number	Key	Incipit
No. 1	C major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { s^\markup{\italic legato} \f } \new Voice \relative c' { \clef treble \tempo "Allegro" \set Score.tempoHideNote = ##t \tempo 4 = 176 \key c \major \time 4/4 \change Staff = "Down" b16 \rest \sustainOn c, g' c \change Staff = "Up" e->-. c g' c e->-. c g' c \ottava #1 \set Staff.ottavation = #"8va" e->-. c g' c e->-. c g c, \ottava #0 e->-. c g c, e->-. c g c, e->-. c \change Staff = "Down" g c, \sustainOff }>> \new Staff = "Down" \with { \magnifyStaff #3/4 } \relative c { \clef bass \time 4/4 \key c \major \tieDown <c c,>1~<c c,> } >>$
No. 2	A minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #2/3 } << \new Voice \relative c' { \clef treble \tempo "Allegro" \set Score.tempoHideNote = ##t \tempo 4 = 144 \key a \minor \time 4/4 \stemUp a'16^\markup{\italic sempre \italic legato} ais b c cis d \< dis e f fis g gis a ais b c cis d dis \! e f e \> dis d cis c b bes a gis b a \! } \new Voice \relative c' { \stemDown <c e>16 \p s s s <e a> s s s <a d> s s s <d f> s s s <e a> s s s <a c> s s s <e a> s s s <c e > s s s } >> \new Staff = "Down" \with { \magnifyStaff #2/3 } \relative c { \clef bass \time 4/4 \key a \minor a8-. r <e' a c!>-. r a,-. r <f' a d>-. r <a,, a'>-. r <e'' a c!>-. r <a c! e>-. r r4 } >>$
No. 3	E major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Lento ma non troppo" \set Score.tempoHideNote = ##t \tempo 8 = 100 \key e \major \time 2/4 \partial 8 \stemUp b8 \p \dynamicUp e_\markup{\italic legato} \< ^(dis16 e\!) fis4^(~fis16 \< gis \! gis \> fis \!) \slurUp gis4^> (s16) } \new Voice \relative c' { \stemUp s8 s4 dis4~\stemDown dis8 dis \stemUp e4 } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \time 2/4 \key e \major \partial 8 \stemUp r8 gis'16 b gis b a b a b a b a b gis b gis b s16 } \new Voice \relative c { \stemDown s8 e,16 b'8_> b16 b, b'8_> b16 b, b'8_> b16 e, b'8_> b16 } \new Voice \relative c { \stemUp s8 e,4 b b e } >> >>$
No. 4	C♯ minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Presto" \set Score.tempoHideNote = ##t \tempo 2 = 88 \time 4/4 \partial 4 \key cis \minor \stemUp <gis' gis'>4^\markup{\italic con \italic fuoco} <cis cis'>8^. s s4 s16 s } \new Voice \relative c' { \stemDown \once \override NoteColumn.force-hshift = #1.7 gis''16 \f (fis e dis) cis \fp (dis bis cis dis e cis dis e fis dis e fis gis e fis \once \hide r16) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } \relative c { \clef bass \time 4/4 \partial 4 \key cis \minor \dynamicUp <gis gis'>4 <cis, cis'>8-. r \clef treble <fis'' a>-. r <e gis>-.^\markup{\raise #2 \italic cresc.} r <dis fis>-. r s16 } >>$
No. 5	G♭ major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Vivace" \set Score.tempoHideNote = ##t \tempo 4 = 116 \time 2/4 \key ges \major \ottava #1 \override TupletBracket.bracket-visibility = #'if-no-beam \tuplet 3/2 8 {ges'''16^\markup{\italic brillante} ([bes des,] ges ees ges des [ges bes,] des ges, bes} \ottava #0 \omit TupletNumber \tuplet 3/2 8 {ges16 [bes des,] ges ees ges des [ges bes,] des ges, bes)} } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key ges \major \dynamicUp <ges' bes des ges>8-. \f [<ges ces ees ges>-. <ges bes des ges>-.] r <ges, ges'>-. \p \sustainOn <ces' ees ges>-. \sustainOff [<bes des ges>-.] r } >> >>$
No. 6	E♭ minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Andante" \set Score.tempoHideNote = ##t \tempo 4. = 60 \time 6/8 \key ees \minor \partial 8 ges'8 \p \dynamicUp ges4.^(~ges4 \< f16 ees \! \hide r) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key ees \minor \stemUp r8 bes'16_(ces a ces bes ges bes ces a ces bes \change Staff = "Up" \stemDown ees) s } \new Voice \relative c{ \clef bass s8 ees2._\markup{\italic sempre \italic legatissimo} } >> >>$
No. 7	C major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Vivace" \set Score.tempoHideNote = ##t \tempo 4. = 84 \time 6/8 \key c \major \partial 8 g'8 \p <e g>16 \< ^(<e c'> <f aes> \! <f d'> \> <d f> <d b'> \! <b d> \< <b g'> <c ees> <c a'> <d aes'> <d b'> \!) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key c \major r8 <c, c'>-. r aes''->(g fis f) } >> >>$
No. 8	F major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \override Score.MetronomeMark.Y-offset=#9 \tempo "Allegro" \set Score.tempoHideNote = ##t \tempo 2 = 80 \time 4/4 \key f \major \partial 4 \afterGrace c''4 \f \trill ({b16 c} a'-> _\markup{\italic veloce} g f c a-> g f c a-> g f c \change Staff = "Down" \stemUp a^> g f c) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key f \major r4 c2^(\acciaccatura b8) c-. d \rest \stemDown c_. b \rest } \new Voice \relative c{ s4 f,1 \sustainOn } >> >>$
No. 9	F minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Allegro molto agitato" \set Score.tempoHideNote = ##t \tempo 4. = 96 \time 6/8 \key f \minor r8 \p f-._\markup{\italic legatissimo} (g-.) r aes-. (bes-.) r_\markup{\italic cresc.} c-. \< (des-. c-. aes'-. g-. \! \hide r16) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key f \minor \stemDown f,16 \sustainOn (c' aes' c, bes' c, \sustainOff) f, \sustainOn (c' c' c, des' c, \sustainOff) f, \sustainOn (c' c' c, bes' c, \sustainOff) f, \sustainOn (c' aes' c, bes' c, \sustainOff) s } >> >>$
No. 10	A♭ major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Vivace assai" \set Score.tempoHideNote = ##t \tempo 4. = 152 \time 12/8 \key aes \major \partial 8 ees8 aes_\markup{\italic dolce} $<c aes'> (bes) <des bes'>-> (b) <d b'> (c) <ees c'> (cis) <e cis'>-> (d) <f d'> (\hide r8)$ } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key aes \major \stemDown \mergeDifferentlyHeadedOn r8 aes_\markup{\italic legato} \sustainOn ([c' aes ees ees' aes,]) aes, ([c' aes ees ees' aes, \sustainOff ]) } \new Voice \relative c{ \stemUp s8 s4. ees2 s4 ees2 } >> >>$
No. 11	E♭ major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Allegretto" \set Score.tempoHideNote = ##t \tempo 4 = 76 \time 3/4 \key ees \major \partial 8 bes''8 (<bes, g' ees'>-. \arpeggio \fz) <bes g' bes> \arpeggio \p (<bes g' a> \arpeggio <bes g' bes> \arpeggio <bes g' c> \arpeggio <bes g' bes> \arpeggio \hide r16) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key ees \major r8 ees,-. \sustainOn <ees' bes' g'> \arpeggio <ees bes' g'> \arpeggio <ees bes' g'> \arpeggio <ees bes' g'> \arpeggio <ees bes' g'> \arpeggio \sustainOff s16 } >> >>$
No. 12	C minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Allegro con fuoco" \set Score.tempoHideNote = ##t \tempo 4 = 160 \time 4/4 \key c \minor <b' d f g b>2-> \f r r r4 <aes ees' f aes>8.-> \< (<g g'>16 \!) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key c \minor r8 aes''16_\markup{\italic legatissimo} (g f-> d ees d b-> g aes g f-> d ees d b-> g aes g f-> d ees d c-> g c g c-> g c g) } >> >>$

Op. 25

Chopin's second set of études was published in 1837 and dedicated to Franz Liszt's mistress, Marie d'Agoult, the reason for which is unknown.

All of opus 25 was written before June 30, 1835, the date of a contract between Chopin and Breitkopf & Härtel awarding the publisher the rights for Germany.

Number	Key	Incipit
No. 1	A♭ major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Allegro sostenuto" \set Score.tempoHideNote = ##t \tempo 4 = 104 \key aes \major \time 4/4 \partial 4 \override TupletBracket.bracket-visibility = #'if-no-beam \override TupletNumber.Y-offset = #3 \tupletSpan 8 \stemDown ees'4 \p (\tuplet 3/2 {ees16 \< \tiny aes, c ees, aes c} \omit TupletNumber \tuplet 3/2 {\normalsize ees16 \tiny aes, c ees, aes c \normalsize ees16 \tiny aes, c ees, aes c \normalsize ees16 \tiny aes, c ees, aes c \!} \hide r16) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key aes \major \override TupletBracket.bracket-visibility = #'if-no-beam \override TupletNumber.Y-offset = #3 \tupletSpan 8 r4 \tuplet 3/2 {\stemUp aes,16 \sustainOn \stemDown \tiny ees'' aes c aes ees} \omit TupletNumber \tuplet 3/2 {\normalsize aes, \tiny ees' aes c aes ees \normalsize aes, \tiny ees' aes c aes ees \normalsize aes, \tiny ees' aes c aes ees} s16 } >> >>$
No. 2	F minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Presto" \set Score.tempoHideNote = ##t \tempo 2 = 112 \key f \minor \time 2/2 \partial 4 \override TupletBracket.bracket-visibility = #'if-no-beam \tupletSpan 4 c'4 \p (\tuplet 3/2 {c8_\markup{\italic molto \italic legato} [des b] c ees des c [des b!] c fis g} \omit TupletNumber \tuplet 3/2 {c, [des b] c ees des c [des b] c aes' f} \hide r16) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key f \minor \tupletSpan 2 r4 \tuplet 3/2 {e \sustainOn (g' c,) bes! (g' c, \sustainOff) f, \sustainOn (aes' c,) aes (aes' c, \sustainOff)} s16 } >> >>$
No. 3	F major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Allegro" \set Score.tempoHideNote = ##t \tempo 4 = 120 \key f \major \time 3/4 \partial 4 \stemDown c'4 _(f,8_\markup{\italic leggiero} [f']) c,_([c']) f,_(f') g,_([g']) c,,_([c']) g_(g') } \new Voice \relative c'{ \stemUp s4 d'16 c8. g16 f8. d'16 c8. d16 c8. a16 g8. d'16 c8. } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key f \major \stemDown \dynamicUp r4 \p c8 \sustainOn_([f, \sustainOff]) c' \sustainOn_([f, \sustainOff]) c' \sustainOn_([f, \sustainOff]) c' \sustainOn_([f, \sustainOff]) c' \sustainOn_([f, \sustainOff]) c' \sustainOn_([f, \sustainOff]) } \new Voice \relative c{ \stemUp s4 a'16 [f] s8 a16 [f] s8 a16 [f] s8 bes16 [e,] s8 bes'16 [e,] s8 bes'16 [e,] } >> >>$
No. 4	A minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Agitato" \set Score.tempoHideNote = ##t \tempo 4 = 160 \key a \minor \time 2/2 \partial 4 r4 r8 <e a e'>-! r <a e' a>-! r <a d a'>-! r <gis e' gis>-! } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key a \minor \dynamicUp e4-> (a,8-! \p) [<e' c'>-!] c-! <a' e'>-! b,-! [<f' d'>-!] e-! <b' e>-! } >> >>$
No. 5	E minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Vivace" \set Score.tempoHideNote = ##t \tempo 4 = 184 \key e \minor \time 3/4 \partial 4 b'4 \p <dis, b'>16^\markup{\italic leggiero} (e8.) <fis e'>16 (g8.) <ais g'>16 (b8.) <b g'>16 (a!8.) <gis fis'>16 (a8.) <c a'>16 (b8.) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key e \minor r4 <e, b' g'>^\markup{\italic scherzando} \arpeggio r <g e' b'> \arpeggio <a e' c'> \arpeggio r <c a' e'> \arpeggio } >> >>$
No. 6	G♯ minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \tempo "Allegro" \set Score.tempoHideNote = ##t \tempo 2 = 69 \key gis \minor \time 2/2 <b' dis>16_\markup{\italic sotto \italic voce} ([<cis e> <b dis> <cis e>] <b dis> <cis e> <b dis> <cis e> <b dis> [<cis e> <b dis> <cis e>] <b dis> <cis e> <b dis> <cis e> \hide r16) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key gis \minor R1 s16 } >> >>$
No. 7	C♯ minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \key cis \minor \override Score.TimeSignature.stencil = ##f \tempo "Lento" \set Score.tempoHideNote = ##t \tempo 4 = 40 \time 10/4 s2 s1 r \revert Score.TimeSignature.stencil \bar "\|\|" \time 3/4 } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key cis \minor \dynamicUp gis4 \p \< (dis'4. \! cis8 \> cis [bis \!] a'4. gis8 fisis16 \< gis a gis \! b \> a e eis fis eis gis fis a gis cis, dis \!) } >> >>$
No. 8	D♭ major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \key des \major \tempo "Vivace" \set Score.tempoHideNote = ##t \tempo 2 = 69 \time 2/2 \tupletSpan 4 \stemUp \override TupletNumber.Y-offset = #-3 \override TupletNumber.X-offset = #3 \tuplet 3/2 {<ges' ees'>8_\markup{\italic molto \italic legato}^([<aes f'> <ges ees'>] <aes f'> <ges ees'> <aes f'> <f des'> [<ges ees'> <g e'>] <bes ges'!> <aes f'> <f des'>)} } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key des \major \omit TupletNumber \omit TupletBracket \tuplet 3/2 {aes,8-.^\markup{\italic mezza \italic voce} \sustainOn <c' aes'> ([<ees c'>] <aes ees'> <ees c'> <c aes'> \sustainOff) des,-. \sustainOn <des' aes'> ([<f des'>] <des aes'> <f des'> <des aes'> \sustainOff)} } >> >>$
No. 9	G♭ major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \key ges \major \tempo "Assai allegro" \set Score.tempoHideNote = ##t \tempo 4 = 112 \time 2/4 \stemDown bes'16_> \p (<ges' bes>_\markup{\italic leggiero} <ces, ces'>-.) <c c'>-. des_> (<aes' des> <ees ees'>-.) <des des'>-. ges,_> (<ees' ges> <aes, aes'>-.) <a a'>-. bes_> (<f' bes> <ces! ces'!>-.) <bes bes'>-. } \new Voice \relative c' { \stemUp bes'8 s des s ges, s bes } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key ges \major ges'8-. <bes des ges>-. f-. <aes des aes'>-. ees-. <ges bes ees>-. des-. <f bes f'>-. } >> >>$
No. 10	B minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \key b \minor \tempo "Allegro con fuoco" \set Score.tempoHideNote = ##t \tempo 2 = 72 \time 2/2 \tupletSpan 4 \omit TupletBracket \tuplet 3/2 {<fis, fis'>8 \p ^(_$[<eis eis'> <fis fis'>] <g g'> <gis gis'> <a a'>$ <gis gis'>_\markup{\italic cresc. \italic poco \italic a \italic poco} _$[<fisis fisis'> <gis gis'>] <a a'> <ais ais'> <b b'>$} \hide r16) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key b \minor \tupletSpan 4 \omit TupletBracket \tuplet 3/2 {<fis,, fis'>8 _$[<eis eis'> <fis fis'>] <g g'> <gis gis'> <a a'>$ <gis gis'> _$[<fisis fisis'> <gis gis'>] <a a'> <ais ais'> <b b'>$} s16 } >> >>$
No. 11	A minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \key a \minor \tempo "Lento" \set Score.tempoHideNote = ##t \tempo 4 = 50 \time 2/2 e4 \p (e8. e16 e4 f e c \tempo 4=40 e2 \fermata) \tempo 4=50 <g, c e>4 \p ^(<g c e>8. <g c e>16 <g c e>4 <a c f> <g c e> <a c>_\markup{\italic rit.} \tempo 4=25 e'2 \fermata) } \new Voice \relative c'{ \stemDown s1 s s s2 <g c>4 <gis d'>_\fermata } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key a \minor R1 s4. r1 \fermata } \new Voice \relative c{ s1 s c4 (c8. c16 c4 f,4 c f c b4_\fermata) \bar "\|\|" } >> >>$
No. 12	C minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \key c \minor \override Score.MetronomeMark.Y-offset = #10 \tempo "Molto allegro con fuoco" \set Score.tempoHideNote = ##t \tempo 2 = 80 \time 2/2 \stemUp \change Staff = "Down" ees,16^> \f ^([g \change Staff = "Up" ees' ees] g ees' ees g ees'^> [g, ees ees] g, ees ees \change Staff = "Down" g,) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key c \minor \stemDown c,16 \sustainOn [g' c c] g' c c \change Staff = "Up" g' c [g \change Staff = "Down" c, c] g c, c g \sustainOff } >> >>$

Trois nouvelles études

Trois nouvelles études were written in 1839 as a contribution to Méthode des méthodes de piano, a piano instruction book by Ignaz Moscheles and François-Joseph Fétis, and not given an opus number. While less technically brilliant than those of Op. 10 and 25, they nevertheless retain Chopin's original formula for harmonic and structural balance. After their initial appearance in the Moscheles–Fétis Méthode, the three études were issued separately by Maurice Schlesinger in Paris, c. 1844 (plate M.S. 4102).^[6]^[7]

Number	Key	Incipit
No. 1	F minor	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \key f \minor \tempo "Andantino" \set Score.tempoHideNote = ##t \tempo 4 = 100 \time 2/2 \tupletSpan 2 \tuplet 3/2 {r \p (_$b c des bes f' e$ b _$c des bes f' e$ b _$c des c d} \hide r16 $) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key f \minor R1 R R s16 } >> >>$
No. 2	A♭ major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \key aes \major \tempo "Allegretto" \set Score.tempoHideNote = ##t \tempo 4 = 50 \time 2/4 \tupletSpan 4 \omit TupletBracket \override TupletNumber.Y-offset = #-4 \tuplet 3/2 {r8 \p <ees aes c> (<ees aes c> <ees aes c> <des ees bes'> <des ees bes'>} \omit TupletNumber \tuplet 3/2 {<des ees bes'> <des ees aes> <c ees aes> <c ees aes> <c ees> <bes des ees>} \hide r16) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key aes \major \stemDown aes8 ees' ees, ees' aes,, ees'' \stemUp ees,, ees'' s16 } \new Voice \relative c{ aes4 ees^~ees } >> >>$
No. 3	D♭ major	$\new PianoStaff << \new Staff = "Up" \with { \magnifyStaff #3/4 } << \new Voice \relative c' { \clef treble \key des \major \tempo "Allegretto" \set Score.tempoHideNote = ##t \tempo 4 = 132 \time 3/4 \partial 8 aes'8-. \p bes-._\markup{\italic dolce} aes-. bes-. aes-. bes-. aes-. g-. aes-. g-. aes-. ges-. aes-. \stemDown f_._\markup{\italic staccato} aes_. f_. aes_. des,_. ges_. } \new Voice \relative c{ \stemUp s1. s8 f''4^(f8 des bes c \hide r16) } >> \new Staff = "Down" \with { \magnifyStaff #3/4 } << \new Voice \relative c{ \clef bass \key des \major r8 R2. R des,4-. <des' aes' des>-. ges,-. s16 } \new Voice \relative c{ s8 s2. s2. s4. \sustainOn s4. \sustainOff } >> >>$

Technical aspects and student guides

Chopin's études are technically demanding, requiring players to have significant skill with speed, arpeggios, and trills even in weaker fingers.^[8]

For all études

Casella, Alfredo. F. Chopin. Studi per pianoforte. Milano: Edizioni Curci, 1946.
Cortot, Alfred. Frédéric Chopin. 12 Études, op. 10. Édition de travail des oeuvres de Chopin. Paris: Éditions Salabert, 1915.
Cortot, Alfred. Frédéric Chopin. 12 Études, op. 25. Édition de travail des oeuvres de Chopin. Paris: Éditions Salabert, 1915.
Galston, Gottfried. Studienbuch [Study Book]. III. Abend [3rd Recital] (Frédéric Chopin). Berlin: Bruno Cassirer, 1910.

For selected études

Busoni, Ferruccio. Klavierübung in zehn Büchern [Piano Tutorial in Ten Books], zweite umgestaltete und bereicherte Ausgabe. Buch 8 (Variationen und Varianten nach Chopin). Leipzig: Breitkopf & Härtel, 1925.
Godowsky, Leopold. Studien über die Etüden von Chopin (Studies on Chopin's Etudes). New York: G. Schirmer Inc., 1899 (Berlin: Schlesinger'sche Buch- und Musikhandlung, 1903).
Joseffy, Rafael. Etudes for the Piano. Instructive Edition. New York: G. Schirmer, 1901.

Paraphrases

Godowsky, Leopold. 53 Studies on Chopin's Études. New York: G. Schirmer Inc., 1899 (Berlin: Schlesinger'sche Buch- und Musikhandlung, 1903).
Wührer, Friedrich. Achtzehn Studien zu Frédéric Chopins Etuden [sic] [18 Studies on Chopin's Études]. In Motu Contrario [In Contrary Motion]. Heidelberg: Willy Müller, Süddeutscher Musikverlag, 1958.

Discography

References

^ Davidoff, Josh (February 28, 2020). "Your Guide to Chopin's Études". WFMT. Retrieved June 25, 2022.
^ ^a ^b ^c ^d Palmer, Willard A., ed. (1992). Chopin Études for the Piano, Practical Performing Edition. USA: Alfred Publishing Co. ISBN 0-7390-2497-3.
^ Ståhlbrand, Robert (2006). "Chopin Etudes". Piano Society. Retrieved 2007-04-28.
^ "Album Notes". Harmonia Mundi. 1997. Archived from the original on 2007-09-29. Retrieved June 25, 2022.
^ Tadeus, Zieliński A. (1993). Chopin Życie i droga twórcza (Chopin – His Life and Artistic Path) (in Polish). Kraków: Polskie Wydawnictwo Muzyczne (Polish Music Publishers). p. 238.
^ "3 Nouvelles études, B.130 (Chopin, Frédéric)". IMSLP. International Music Score Library Project. Retrieved 27 October 2025.
^ "3 études pour le piano : composées pour la Méthode des méthodes ([2e éd.]) / par F. Chopin". Gallica (Bibliothèque nationale de France) (in French). Retrieved 27 October 2025.
^ Klein, Andreas (May 1989). The Chopin Etudes: An indispensable pedagogical tool for developing piano technique (D Mus thesis). Rice University. p. 7. hdl:1911/16247.

External links

Analysis and scores

Études Op. 10, Études Op. 25 at Chopin Online, University of Cambridge
Études Op. 10, Études Op. 25: Scores at the International Music Score Library Project
Free scores of the Etudes at Mutopia Project
Hans von Bülow's edition of the Études, Opp. 10 and 25 (Munich: J. Aibl, 1880) From Sibley Music Library Digital Scores Collection
Find entries on select Études and listen to on-demand performances at The Chopin Project site

Performances

[1] Davidoff, Josh (February 28, 2020). "Your Guide to Chopin's Études". WFMT. Retrieved June 25, 2022.

[palmer-2] Palmer, Willard A., ed. (1992). Chopin Études for the Piano, Practical Performing Edition. USA: Alfred Publishing Co. ISBN 0-7390-2497-3.

[3] Ståhlbrand, Robert (2006). "Chopin Etudes". Piano Society. Retrieved 2007-04-28.

[4] "Album Notes". Harmonia Mundi. 1997. Archived from the original on 2007-09-29. Retrieved June 25, 2022.

[5] Tadeus, Zieliński A. (1993). Chopin Życie i droga twórcza (Chopin – His Life and Artistic Path) (in Polish). Kraków: Polskie Wydawnictwo Muzyczne (Polish Music Publishers). p. 238.

[6] "3 Nouvelles études, B.130 (Chopin, Frédéric)". IMSLP. International Music Score Library Project. Retrieved 27 October 2025.

[7] "3 études pour le piano : composées pour la Méthode des méthodes ([2e éd.]) / par F. Chopin". Gallica (Bibliothèque nationale de France) (in French). Retrieved 27 October 2025.

[8] Klein, Andreas (May 1989). The Chopin Etudes: An indispensable pedagogical tool for developing piano technique (D Mus thesis). Rice University. p. 7. hdl:1911/16247.

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v t e Études by Frédéric Chopin
Opus 10	No. 1 No. 2 No. 3 No. 4 No. 5 No. 6 No. 7 No. 8 No. 9 No. 10 No. 11 No. 12
Opus 25	No. 1 No. 2 No. 3 No. 4 No. 5 No. 6 No. 7 No. 8 No. 9 No. 10 No. 11 No. 12
Trois nouvelles études	Trois nouvelles études
{{Ballades}} {{Concertante}} {{Études}} {{Mazurkas}} {{Nocturnes}} {{Polonaises}} {{Preludes}} {{Scherzos}} {{Waltzes}} {{Frédéric Chopin}} List of compositions by genre List of compositions by opus number Category

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