Most of Chopin’s etudes take a lot of time to master. Moreover, the revolutionary etudes are not simple among Chopin’s 27 etudes. As for the practice methods and emotions, Color, I just have an article here, I hope it will be helpful to you. No. 12 in C minor (Op.10 No.12)

Fiery Allegro (Allegroconfuoco)

This This famous etude is known as the "Revolutionary Etude". It was composed in 1831. When Chopin heard the news that Warsaw, the capital of his motherland, had fallen and the Polish revolution failed, emotions of grief, anger and anxiety troubled his soul all the time. In the music, we seem to see the anger in the composer's heart burning in the stormy sound flow, and also hear Chopin's painful shouts and cries...

In terms of technique: This etude looks like the left hand The technique is very difficult and complex, but in fact the right-hand chord playing method is also not easy. The technical difficulty of the two hands can be said to be equally matched. In the process of learning, you should first practice separately. Let's first talk about what's noteworthy about the left hand part:

1. Practice key-sticking. Practice with the left hand at a slow speed first, with your fingers touching the keys low and playing the keys. This exercise is to strengthen the feeling of the fingertips. During practice, although the speed is slow, the key-touch movements are very fast, which is the requirement of "slow speed and fast movement". The fingertips must have a "grabbing" feeling on the keys. Because when running fast, if you want to produce a very concentrated and clear sound, the sensitivity of your fingertips is very important. It strikes quickly, grasps the key in an instant, and then proceeds to the next note.

2. The arm strength fluctuates greatly with the intensity of this piece. Only when the fingers and arms are combined can a full and passionate sound be produced. When practicing, we should pay special attention to pushing the strength of the big arm to the fingertips, and the fingertips should "eat" the strength, so that the arm strength can be continuously transferred into the piano, and be sure not to let the arms get stuck or stiff. Especially in places with many corners, such as sections 29 to 36, not only the coordination of the upper arms is required, but also the small movements or small feelings of the wrists are very important. The power must be smoothed so that no matter how you turn, it will not be awkward. .

When practicing the chords of the right hand alone, you should pay attention to: a. When touching the keys, you should press the keys slowly, and your palms should be ready before pressing the keys. Your fingers should not be loose, and the palms of your hands should be firm. A kind of "grip strength" that can hold the sound after pressing the key. At the same time, the arm force should continue to be transmitted to the fingertips after pressing the key, and do not let go immediately, so that the sound of the chord sounds like it has the staying power to be transmitted to the next chord. In addition, after playing the chord, the arm feels like it is being dragged up (rather than going straight up and down easily). First drag up the arm, and then drag up the finger (the finger seems to be reluctant to leave the key). This feeling of touching the keys is the same. In order to make the sound of the chords more coherent in singing. b. Organize the movements. The melody of the right hand is all played with chords. Many people play it very hard, and their arms are sore and tired after playing. In fact, when playing each chord, you don't need to exert equal force on each chord, and the action of lowering the keys is not all downward. We need to organize the actions. Some chords are pushed downwards, and some chords are lifted upwards. In terms of music: In many people's performances, we often hear that they are played hard and loud. This is because everyone works hard as soon as they see so many chords. If the piece is played noisily, then the music of the work itself The connotation becomes too shallow. Therefore, we need to pay attention to: 1. Strength. The overall strength of this piece is mainly f (strong) strength, and when the emotion is the most intense, it is ff strength (such as bars 41 to 49, bar 65, and bars 81 to 84). We should note that although we need to play music actively and enthusiastically, we need to control the volume rationally. There is an auditory phenomenon that needs to be mentioned here, that is, when the overall volume of a piece of music is relatively strong, the occasional weak phrases in the piece will appear very valuable and have great musical effects; in other words, if the overall volume of a piece of music is The mood is warm and cheerful, but some quiet and soft phrases in the work need special attention, which often give people a refreshing feeling. Therefore, when playing this etude, we need to pay attention to the places where the composer writes p signs (weak signs). For example, when the theme appears twice in the first paragraph, the composer has different arrangements. The first time (the first time) Bar 10) is the strong intensity (f), and the second time (bar 20) is the weak attack (p).

In fact, the effect of using the pianissimo for the second time is very important. It can better express the depressed and sad emotions required by the work. Of course, you must be careful not to play weakly and weakly, and it should have a "light and strong" feeling. , the touch keys should be deep. In addition, even within a long phrase, the composer has clear intensity requirements. For example, bars 10 to 18 are a large phrase, and there is a strong contrast between the intensity of the first and second clauses (on the score) The mark is f in the first sentence and p in the second sentence). If the first sentence (section 10) is the music shouting loudly, the second sentence (section 11) immediately following it is a suppressed and dull answer. , these details require our attention during performance.

2. Breath This piece is grand, fast, powerful, and the music flows endlessly. When we play, it is best to organize the sentences with a feeling of big phrases and long breaths. For example, bars 10 to 18 should be one big phrase, and the breath should not be broken in the middle. When you raise your arms during the rest, don't relax in your heart. Hold the sentence. If the breath is too short, the phrasing will be too small, too broken, and there will be too many movements. This will increase the technical burden on the hands, especially the octave of the right hand, which will feel very tiring. On the contrary, if the inner phrases are well organized, not only will you feel more relaxed mentally, but you will also feel relaxed technically.