Chopin Etude op.10 No.2 needs a great deal of technical optimization. It's not enough just to be able to reach the end, it should be played with ease and elegance in order to make a truly positive impression.
In this extensive video I will introduce you to the most vital efficiency concepts and learning methods.

00:13 "reasonable cheating" controversy (see also my UPD statement below)
06:13 alternative fingering
08:48 efficiency concept I: rotation
11:36 efficiency concept II: in- and out- movements
13:22 making crescendo: quick tip
14:12 some interpretation advice
15:06 Learning strategies and methods
19:17 what this piece has in common with surfing??

UPD: Some individuals took personal offense at the notion of redistributing material between hands to such an extent that I found it necessary to prohibit a couple of them who displayed arrogance. While I appreciate the concept of 'performer's honesty,' which is essential when discussing the artistic auditory outcome, I believe it to be overly simplistic when applied to a performer's technical "toolbox," in my personal opinion. In fact, many top-level performers, including technical virtuosos like Marc-André Hamelin, regularly adjust the distribution of elements between their hands to suit their needs in most pieces, which helps save valuable practice time.

Even if you were to transfer a few notes to the left hand in this particular etude, it remains an exceedingly challenging piece. Additionally, it's worth considering that when comparing different editions of various piano compositions regularly, you will notice that they often distribute layers differently. Some even provide suggestions for such redistribution because it is INDEED A COMMON PRACTICE among truly professional pianists. For instance, the Ekier Edition does incorporate such redistribution recommendations for a significant number of Chopin's compositions.

Furthermore, for those who are particularly critical - have you taken into account the significant differences in the instruments for which these pieces were originally composed? Have you ever attempted to play on an Erard or Pleyel piano constructed before 1840? Do you genuinely believe that Chopin, renowned for his physiologically pleasing and anti-virtuoso approach to playing, would have ever composed something as technically challenging as it appears on a modern piano?

Hence, if you believe that spending four weeks on a piece instead of two makes you a better pianist, you may be a victim of your pointless prejudices, and limit your repertoire unnecessarily. By expressing my viewpoint here, I am not inclined to engage further with comments on this matter.

However please keep in mind that all these tips you’d have to adjust to your hands, so please treat this video as a thought-provoking material rather than a set of straightforward directions. Especially, I don’t expect that my own fingering that I share in this video would suit just any hands.

Check out my detailed tutorials on other etudes from this opus:
Op.10 No.1: [ Ссылка ]
Op.10 No.4: [ Ссылка ]
op.10 No.12: [ Ссылка ]

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