Mentally prepare. At the speed of 46 count and clap groups of two per beat

(eighth notes), three per beat (triplets), 4 per beat (sixteenths), and 6 per beat (sixlets).

Suggests starting this etude with a singing tone.

Make sure that dotted quarter notes at measure 18, 19, 26, 28, 34, 40, and 42 played to the rest.

make sure measure 19 begins piano and decrescendos to pianissimo.

The triplets in measure 21, and 22 should be legato.

A breath can be taken at the end of measure 21, and 22 (optional).

Make sure that the pitch does not go flat on the low C sharp in measure 24.

The style at measure 27 and 28 should be legato.

Dotted notes under a slur should be lightly tongued (measures 27, 28, 30, 31). At measure 33 make sure you blow through the trills and play the line.

Crescendo the F sharp at measure 34 and lead into measure 35.

Continue playing the line at measure 35.

At measure 36 taper the A sharp quarter note to end the phrase.

At measure 37, again blow through the trill.

At measure 39 make sure you diminuendo on the 16th note triplets.

At measure 40 the F sharp needs to be the softest note of the phrase (phrase begins measure 37 and ends at measure 40).

At measure 45, 47, and 48 the triplets need to be legato.

Breath can be taken after the B 16th note at measure 48.

"Tranquillo" at measure 48 means calm

Breath can be taken after the B 16th note at measure 50.

"Morendo" at measure 50 means dying away.

In measure 51 the A grace note should be tongued.

In measure 52 after the last B quarter note, you should wait a bit before playing the last measure of the etude.

The very last note of the etude should be held out, with a decrescendo. The vibrato should stop towards the very end of the note.

Tuning problems will probably occur on the C sharps. To help with pitch problems play a low C sharp below the staff overblow this note into C sharp 2 and C sharp 3 (these overblown notes are called harmonics). Match the pitch of these harmonics to the actual fingerings of the notes. Using a tuner on these notes will also prove to be beneficial.

Ornaments or Grace Notes:
when doing the grace notes or mordents(the squiggly line above the note) at measures 19, 27, 29, 45, and 49 keep the eighth notes constant. Above all, don’t rush and keep the triplets smooth.

The Overall concepts of this piece are:
rhythm, accuracy, beautiful tone in varied dynamic ranges, and long legato phrasing.

Rhythms:
When first learning this etude practice with a metronome and subdivide all rhythms:

Start the metronome tempo very slow, eighth note getting the beat, then gradually speed up.

Remove all ornaments and add them in after the piece is rhythmically solid.

Tone:
Playing with a beautiful tone is essential to this etude

Practice the B minor scale, long tone studies at different dynamic levels

Large intervals are present throughout this etude. Isolate and practice them to make them connected and graceful.

C sharps- Experiment putting extra fingers down (right hand fingers 4 5 and 6). Make sure you experiment at different dynamic levels. Feel free to use a tuner

B naturals- add the G sharp key in the places that may go flat

Vibrato: add vibrato to most of the long notes. Also experiment with the speeds of the vibrato to help musical ideas. ( speeding up the vibrato helps the effects of a crescendo, slowing down the vibrato helps the effects of a decrescendo).

Typically, fast moving notes do not need vibrato. Keep air stream fast and smooth through the technique.

Phrasing:
Long phrases are the key to smooth legato playing

With your teacher, analyze the phrasing in this etude. Most phrases or subphrases end with a rest.

After becoming comfortable with notes and rhythms, this piece cannot sound "notey." Smoothly connect the first note of each phrase to the last note of the phrase, trying to avoid any bumps or let- downs in the phrase.

One exercise that you can do to avoid the "notey" sound is: playing the triplets using one strong airstream, only the fingers move, the air remains constant

Many phrases can be done in one breath. The more "extra breaths" you take, the less connected the piece will be.

Be careful with your tempo. Keep the tempo on the faster side so the etude does not slow down and drag.