You are on page 1of 34

^S^M^^S^jfej

To Arthur

Friedheim

SCHIRMER'S SCHOLASTIC SERIES

VOLUME

THE
CHOPIN TECHNIC
A Series of Daily Studies
Based on

Difficult Passages

Taken from

the Preludes and Etudes of Fr.

Chopin

By

HENRY LEVEY

Ptsigv Copyrighted 1917.

By

SCHIRMER,

C. Schirmn, Inc.

INC.,

NEW YORK

PREFACE
Chopin abound in passages which may be turned into
Lecouppey, in 1878, was among the first to suggest that these
exercises."
[Lecouppey, "The Virtuosity,"
beautiful passages might be so utilized.

"The

fitudes of

Schirmer's Library, Vol. 70, page 15.]

The

technical

great

value of Chopin's

endeavors to master the purely technical

from the

apart

who

of his music, must be apparent to the student

intrinsic greatness

in

compositions,

difficulties so constantly

seriously

encountered

their study.

The
this

author of the present volume has not aimed at completeness, as

would

of almost interminable length; but he has

entail a compilation

sought to extract, from

the very essence of what

passages,

difficult

is

most

likely to be the cause of trouble.

The

transposition of every exercise

is

absolutely essential, and in this

respect the author lays claim to a completeness not

Unless written out note for

devoted to technic.
well

how

The

use

hard

to get a student to transpose even the simplest

it is

of the same fingering in

authorities.

This

difficulty

because the pupil

commonly found in books


note, teachers know full

not

is

is

at

all

of exercises.

keys has the sanction of almost

all

once exaggerated and simplified; simplified,

compelled to study anew

fingering peculiarly

adapted to another key; and exaggerated, because of the obvious difficulty in


frequently placing the

thumb on

have

Octave-passages

not

the black keys.

been

included, as in

Kullak's

method the

subject has been admirably and completely treated.

The

order

which these

in

exercises are to be studied

is

left

to the

discretion of the teacher.

The

mastery

of these special

difficulties

conquer the purely mechanical side of


universally

conceded,

that

of

all

all

writers

should enable the student to

great composers, as
for

the

piano,

it

is

almost

Chopin remains

technically, as well as musically, preeminent.

H. L.

New York,

1908.

nwi

HAROLD B. LEE LIBRARY


ERS1TY
BRSGMAW1 YOUNC
H
PROVC

The Chopin Technic


Exercises for the Equal Development of the Hands,
for Turning' Over and Under, and Extension of the Fingers
I.

Henry Levey

[Etude Op. 10, No. 12]

54

4 5

i
3

4 a 3

Ff

#->

m
3

**^-*
fggJt

ii

ss

ii ii'"' J
3*543 54
1

\1 Bpjjjji 1 J

J '<

'J

JU

"

II

1
*=^*i

-If**-

W
J.J
J. J J

J J

J
i iJ"

sa>

f
JH^TtH

:&>

J^TJ

'"V
:

ii
tt

PftJ.JJ

itH^J J J

1R

^ J J

:||:U r , . * r - .

fl

:uk*
1

^ ^

123512

I
"'""H

ii

(-"

0-0

J
ij

|^[^j| r

yHtj

sH ^i
2

"

1 ^#

Practise with each hand separately, at first; the left hand an octave lower.
The fingering given in the first measure of each exercise should be strictly adhered

to in all the keys.

25 times.

strict legato

is

to be

maintained; and each measure should be repeated

at least

Printed In the U. S. A.

20197

Copyright, 1908, by

G.

Schirmer, Inc.

ill
J

J J

il

gTgp j

ISS!

*w^

#t
i

P*

-#-

'

ii

fe^i

?i

5
1

i^ii

if

ifgf

N^i
cJtiLT'tt fJJri
t*e be*

20197

7.3t
3

tyflM fy tgffi M l E fi

*
4 3
^

a^: rff^^

jif Sir

rfl

fe*

'

[Etude Op. 25, No. 2~]

&s

>

m l*

#J
b

i
*

tj

^M

jj jjjiir'rrfrr"

9.

I
2

4^l2

2
3
2

rr

nfrr^rr

tete

]J JJJ H O ^# P # J

B * ^

J J

ttrr. u

y^t fip

::**

***

iM

7 2

4 *

^
20197

te

.^

iJJ^n*^JJJctfgJ*fl^

b.- J>

143 234143234
10.

CS31

J^U^L^iXJ tfJ^ Jj ,

Ji'J

:II:pi

14212

JtH

* jujp rrr vr r*y]W ms ^

nznvfttvm

r%

eh

j!!

3 2

7 2

;;

#--#

^^

Hi

p * m 0-^h^p

Xf *

\'n>

^r-

w
^1 #"

m A
I

* J * J J J
IJ J

jS |

*-ffi
"ff

^m 0=^

'Ill3
,<

11.

**

4 2

4 2 5

1**1,1*

*
rti
P

Hi

S^

ffr

#=

fctt*

H
*T**

t*fc

EgjBEfii

i^

^*^
ffle

IH

**-

p5

te

llirr r r r r

ii

:|:<

r'Tcrrrfr

ffVp*

[Etude Op. 25, No.


2 3

13.

f
i

3 2 4

-J[

..

S^^^B

14

^'0197

L?

r r

r^

fete^

f]

|?

IIHII

HSH
b

It 4

irf

IT
1

H f>r.

gg:

; <p

:||:

I
b*

k.

b
jfc

p# p#

aJJg ,r

2*43

r rriti-ftr

1
3

1 ^tfr

$m^

*
*

llr<>rr|,<t
i

\>

If*

H*

J *

F=^

.b

p#- jE*

>
5 2

mmm

in

15.:

4**4

fc

'

fc

1 $

JbJ

J: ||;

p|

16

bi

4
*

g:

is

jr

a* p#1 $r=:

11

11 .

p^pff

1 5
v,

I
o

mm
ji

liS*ili^EiSsil
e
r
-l l -Tl

^^

b.

b.

te
I

^
1

t^E^

'la
<>

.,

t
17.
"

8*-.
5

!P^P

b,

T[]]
=p

I:' Jl i
2

18 isE
a>

3 5 a

fl

!fc

Ot-Xiz

CO

w^t
M=a
' "bj*
j>,,
4

^tj

ttp

Iw^^fulf^iii I

H
20197

^^
S

gg^

[Etude Op.

2i

10, No.

5]

fJjJIt'Cli feJ
i

sP

2 4 a

^
1

t^W*

Tif &a' g

pS

HB
O-m-w
5

^g

PPFP

ji

20197

ii

^r

IS

jjj

t^rjj'J^J^

fl'wi J/i^I^i
]*
^eL-J^PI
J


2 4

m^J 0^i
l

2 *

23

m-0
pi-r* 0*-4TT
^4
2
i
*

^^M

SI

& E

b:

cif

MU

ifeg
b

31

^ ^'S7irf%^-^H

#^%

qn jflff**t fo
SJi^if
ff f
%

sa

*=

^s^e
m

i
m

IF
j

20197

4 2

fffl
b

^*^ fo

2 4

ff^

SH
ffl=P
p

p,pj

ii

M=
is

Fff
*

ftp
ttr

"B3

f T.ii
f
i*-g-,
r ju

[Etude Op. 10, No. l]

26.
3

4
s

27M

r*

4
2

IS
SS?#^
4 *

m
pw

&PJ^ 1

*F

Uffii
S^

ftfflCaLT*,^

U0197

uk

^W^ ^Fg^^l
5

te
k
to

PS

i1

*|3pa
i^si
"K

^^*S

[jEtude Op. 10, No.


4 3 *

8]

* 3 ?

^tfr^Fefltnfr^Jgtiri

iMajgg
20197

#
10
4

IS

5.

.j

3 4

20197

4 3 2

14

=3ES
2

2 3 ^

35.
1

* 5

.\>Jr

9-0

9Epi

I
-

I I:

^
JJ^ fitff

1^

4 3

20197

^ ^m0B0^ ^

4 3

#>Tr

gg
2

i
tea

^*i.

pIPrff

43

5 2 4

14

15

5**35

20197

2 4

2"

9+~

&'

i-

1
SEfi

20197

14

[Etude Op. 25, No. 12]


51

flu

fi

i-s

PP

-p -f

f
2

Vj

5
-*-*.

5
.5

1*

14

**

!**
^
5

5 3

fcL

iT

ti

iai^M
#

pft^^a

tefr. 'te

\ w

i tff

L ^tf ffl] i J^ ^ L_r' ^1 *

fl

w * \S.

20197

M>

b~4

i E

1f

w
I

r*
8-

^m

16

[Prelude Op. 28, No. 3]

["Prelude Op. 28, No.


>

53.

rf
1

20197

fiJJ
1

16]
.,

^J

5
4
l"l

J'f

^-#itrfFrJi^^

*
17

,.

fr/fS^r

>i, .l..

..

u :n:
i-M

r'ri' f f

* jt . p .

&&*

-i i

gfe&g Jff ta feeegtgg _*5fei.

56.
5

'*

4 5 4' {

ek

^T

^#*tjg^#^

4his^u$^PtrW^Jffd^fffti^F #01
1

fttg#
20197

18

[Prelude Op. 28, No. 19]


1 9
5 i

5i/i*

* ^i
'T^j?

57.

E S

fc

9-0-

^%

k
::>

23

>

ts

jt

4
-

Ld#

5 2

ug

'J'

gIH i

UfLd

''

I
5

k,

s^
k

33

4 2

I' i

"

M
*

&
20197

^
1

Vrffl 111

*> 5 i

^a

[jtfi

i
i**#t

4
4

i I

.4

ms

(KHz

Jfe.

^k?a
raw*

*^ini*

I***

LJLULcJ i

fejfife *

fe tef -?

6Q

ift

JiTjiJCutiu rirLuCij

k,

'-2

its
1

l|

$3

58

T [j fc^^y^tjir^^i

p#

SI
*Hl J

*^k

fl:^

19

II.

Thirds

(jEtudc Op. 25, No. 6]


4 5 4 5 4 5 4 5

61.

f!_^^^ _|f_

,,

1 |:

Ml

I p

:||:

"T "T""T

4'M 54

,{

ti

'

a 4

1
-

t lb

434

20197

454
i

;|

it'ttttt* Ihi i4H*H-\\

^
...^___

_ J.aLf

L^ .ll.^a t a
:i

j cam
JUL
1

i:z:i-

FpF:||:i plt

ll

^^ jy
iy

rtp:| |

:l>

j1

ft^*J

^^

lpp

ll

^*fl

tt

1 g li# ^ s

r<u
tf

ffl>

II

% f 5

l
5

-t

p S i

gill

^|:lflW

4 W

5 4 5 4

4 5 4

,^I 1 J

- J|.

-f-^^^^fr^W-i^
5

J
r

!^f

E5-55- __n_

-Jl

%
*

?,

4 * 4

JJ73 ^JJT3 w J^ J 1

g JSg

30
t ? *

.-*

i-I

4
*-

* *
4 3

?
4

^S^fe

20197

4 *

f
'

.1

2
1

4 H

'

gn^ai

*
4 *
4 3 4

21

3 5
5

*
I

;,

'i

-i

4 2

.,

.'*

4
*

4
i

a *

i*'i j J7

tffffHTOjj^ t

fP

rr

r p

JTn

^y^f^tfMt^^^ctffto r p^fMMi
^* i>*

toxtnp*t

^Hp

jMjjjj

yttfffafFfFt nr?3

4 3

68.

(jg

gj P

1?
o 7

mr

JOj j
*

-'ri!

* rf^f*^

| 3

*wfl

..

69.

..

3 4

tf

,'j

4 3

FC-LU

,J

4 3

ii

??

20197

g^'*^ f

y ytjjff.^f p f^'fff.^
t

II

rn

ff
1
1

fl*#*#$?

i*

hi

#?fltf

ih

"^ T

*tf#fM^II

23
III.
[[Etude Op. 25, No.

45454545

54

5 4 5

8]
4

454

543

4 5

4 5

*/ JI31
t

Sixths

1 kp

p p

iifll

* ^f^ i
t.

*
'EiEf *EJ!Ei

e bC*.k*

20197

=p

34
4

73.

iS
l

ia
1

.J

Ejj *

114

Wm
iy

l |:

pf

.1

j I rtf f f

[r

^
^

L^P J J f j ||ggi f *

^V>
I
Jf J I

fe**

IV.

Mixed Passages

[Etude Op. 10, No. 2]

mm
5

201b7

.,454.

fflSgggliii

pra^ ^A
'^

^ F=*=f
i!

hOTr^

^^

tt

"w

&

8-

l\\$W$W^

#'

<*

ggg
^/j^^
^
S

jpi

tft

'/

j#g?

*J

&

^^

gg
j#^%

11

77.

MMm"#r MMmMM
^fa*Mm
5

&5

essblJOTTJ

E^ PW M

Fffi

ppsa

B
^mM
fffl

Pr-#^p#i
^fflffl^^^
^
#p piifg
20197

m'w ^r im

F=Fi

ma

sbbbuJCj

lE

Pff

26

[Etude Op.

10,

No.7j

i4*FF fE7
l,

fz

20197

0-^

>

..

ii *

it tm

Ffl.^i'EJfo

ftr

ft

V-

27
3

^c up
g

3
*

5
1

m i
<!

#-

Ffrfop

^t

'

'

f *P

:
i

^^^^^^^^^^^

20187

28
[Etude Op. 25, No. 5j For

82.

' '

the rig-ht

hand alone

I
"Ml;

^ w "

ft

^m m
^

20197

kA*
K-Lf.

p**

flm

8-

8-

w mmfm

fafc *

" j

i^

bt=

:h

#
sV
fU'
<?

j^

^ttfc*

*feMMfC
]

J
29

)
,ades, No. 3
4 5
3
4
3

&
4

*a

fata

a
s^jfl^^j^^a^l
-fl

JJ:#.^ *+4

LAX.

l^^S
j

ll^^J^^I^

S^

A,

2
t

2
3

g^l>w pi

II

r
[

T5
]l

Jja Ws,

L^M
1

ham

ii

Si

4 w*

snTS

20197

',*9

You might also like