Etude 1:

Page 29, No. 35, C Minor, No. 35
Tempo: Quarter note 84 - 112
Play: beginning to end
Errata: none

Performance Guide:

This etude stays in predominately in the key of c harmonic minor except in measure 15 where it briefly indicates an ascending c melodic minor scale. Therefore, it would be very wise of all students to become as familiar with all three forms of the c minor scale. This first section of the etude should be played with a crisp articulation, but try to avoid letting the notes become too short and choppy. Tongue firmly, but DO NOT try to separate the notes. This can have a very unmusical effect and make it difficult to keep the tempo moving. In any musical situation where we have long phrases of continuously repeated 16th notes it is necessary to do one of two things for breathing:

1. We can omit a note at a predetermined point in the line in order to breathe without affecting the tempo, or:
2. We can play the line rubato near the phrase endings to allow for taking a breath.

This is a choice the individual performer and teacher will have to make. I would suggest using one method only.

The style changes in measure 17 and it is indicated that this should be played cantabile. I do not feel that it is necessary to change the tempo at this point, but rather to play in a more legato, singing style.

Measure 33 is a return to the A section of the etude and the original style.

Etude 2:

Page 51, No. 57, Db Major, No. 57
Tempo: Dotted quarter note 63 - 76
Play: beginning to end
Errata: none

Performance Guide:

“con anima” Play with animation. Be playful, energetic, and expressive. Although it is always important to work things out with a metronome, this etude should NEVER sound like it is being performed with a metronome. Keep it flowing. Give the line a sense of direction, forward movement, and shape with crescendos and decrescendos even though they are not always indicated in the music.

You can use a rubato approach in this etude as long as it is done tastefully and not used as and excuse for poor technique. Strive for a beautiful tone always here. This music is not technically difficult, but will require MUCH musical attention. With technically easier music we have to really work to be as refined and polished as possible.

Etude 3:

Page 50-51, No. 56, Db Major, No. 56
Tempo: Quarter note 92 - 116
Play: beginning to end
Errata: none

Performance Guide:

Crisp, but connected notes should be the motto for this etude, not “short and choppy”. This must have a bounce to it much like the rhythmic studies in the early parts of the Arban book, but remember to be musical. Speaking of the Arban book, it would be very wise to practice the D flat major scale studies and the D flat major and b flat minor chord studies to help with the preparation of this etude.

There is a brief encounter into b flat minor from measure 17-32. From 33 to the end you are back in D flat major. There is nothing difficult about the interpretation of this etude. Just try to make it sound happy and energetic. Strive for clarity, good tone, and musicality.