Nocturne no.4 - Op.15 no.1: F-major

Recording by Sviatoslav Richter

I really liked how the sections of this nocturne contrast so starkly. The first sections is like a lullaby; it goes on for such a decent amount of time that you think that's what's going to happen for the whole nocturne. But Chopin surprises when he whips out this thunderous section that just comes out of nowhere.

Nocturne no.3 - Op.9 no.3: B-major

Recording by Ashkenazy

I like how this nocturne is (and I think most of Chopin's nocturnes are) so methodically organized. The left hand arpeggiates chords while the right hand plays the melody and plays around with rhythm and non-chord tones.

Nocturne no.2 - Op.9 no.2: Eb-major

Recording by Rubinstein

This is one of the very famous nocturnes by Chopin. I appreciate the huge leaps that Chopin takes in the melody.

Nocturne no.1 - Op.9 no.1: Bb-minor

Recording by Rubinstein

This nocturne has a number of moments where things seem all peaceful and alright, and then a different chord sets in or non-chord tone, etc., which leads one to the conclusion that things aren't as okay as they seem.

I also appreciate how beautifully and realistically the melody sings. This is partly to do with how Chopin wrote/phrased the melody and also has to do with how Rubinstein played it.

Chopin Mazurka in G, Op.posth.S1 No.2a (BI 16)

Recording by Ashkenazy

This mazurka has a very strong waltz feel to it, unlike some of the other mazurkas where the pulse is on a weak beat.

Mazurka in D, Op.posth.P2 No.2 (BI 71)

Recording by Ashkenazy

This mazurkas has a trio, too! Also, now that I think about it, Chopin's mazurkas don't tend to go that high up in terms of register, but this one does.

Mazurka in D, Op.posth.A1 No.1 (BI 4) (Mazurek)

Recording by Ashkenazy

I thought that it was interesting that there was a trio section in this mazurka, even though the mazurka is only about a minute long.

Mazurka in C, Op.posth.P2 No.3 (BI 82)

Recording by Ashkenazy

I just can't get over how crazy the rhythmic emphases get in these mazurkas: this mazurka is a classic example.

Mazurka in B flat, Op.posth.S1 No.2b (BI 16) (Prague)

Recording by Ashkenazy

There was some interesting rhythm stuff going on in here.

Mazurka in B flat, Op.posth.P2 No.1 (BI 73) (for Alexandra Wolowska)

Recording by Ashkenazy

The melodic line reminds one of skipping and frolicking. Seriously.

Mazurka in A flat, Op.posth.P2 No.4 (BI 85) (Szymanowska)

Recording by Ashkenazy

This mazurka has a sweeping rhythm to it, a sway that gives it a definitive dance feel.

Mazurka No.51 in A minor, Op.posth.S2 No.5 (BI 140) (à Émile Gaillard)

Recording by Ashkenazy

This mazurka did a lot of chromatic moving downward.

Mazurka No.50 n A minor, Op.posth.S2 No.4 (BI 134) (Notre Temps)

Recording by Ashkenazy

The one thing that stood out to me a lot in this mazurka was that there were a lot of modulations.

Mazurka no.49 - Op.68 no.4: F-minor

Recording by Ashkenazy

This is definitely one of the slower mazurkas. I might also say that it was filled with more emotion than some of the other mazurkas, at least having to do with deep vs. surface stuff.

Mazurka no.48 - Op.68 no.3: F-major

Recording by Ashkenazy

The repetition of the same rhythm with different harmonies was effective in this mazurka.

Mazurka no.47 - Op.68 no.2: A-minor

Recording by Ashkenazy

The "si" is hovered around quite a bit in this particular mazurka, which gives it a kind of foreign feel, the kind of foreign feel of which I'm not sure...

Mazurka no.46 - Op.68 no.1: C-major

Recording by Ashkenazy

It was interesting how in some of this mazurka the rhythmic emphasis was on the third beat.

Mazurka no.45 - Op.67 no.4: A-minor

Recording by Ashkenazy

The combination of figurations and rhythm don't necessarily make the melody memorable, but enjoyable to listen to.

Mazurka no.44 - Op.67 no.3: C-major

Recording by Ashkenazy

The dynamic changes in this mazurka really added a lot of depth and interest to the piece.

Mazurka no.43 - Op.67 no.2: G-minor

Recording by Ashkenazy

I really liked the accented grace notes that Chopin used in this: it was quite exciting.

Mazurka no.42 - Op.67 no.1: G-major

Recording by Ashkenazy

This mazurka is just so bouncy because of all the grace notes and sixteenth notes, etc.

Mazurka no.41 - Op.63 no.3: C#-minor

Recording by Ashkenazy

The melody of this mazurka is really phenomenal; it makes me wonder what was going on in Chopin's life at the time that he wrote it. Was there something very emotionally-devastating that happened to him?

Mazurka no.40 - Op.63 no.2: F-minor

Recording by Ashkenazy

I guess one thing that defines this piece is the consanant skips: they really stood out to me.

Mazurka no.39 - Op.63 no.1: B-major

Recording by Ashkenazy

There is definitely a lot of call and response going on in this mazurka. Not only is this occurring consecutively in the left and right hands, but also just in one hand where certain phrases are repeated.

Mazurka no.38 - Op.59 no.3: F#-minor

Recording by Ashkenazy

The way that Chopin used triplets in this mazurka made it much more lively. And surprisingly, the modulation that Chopin used actually made sense to me this time. Granted, he DID modulate from F# minor to F# Major, but still...

Mazurka no.37 - Op.59 no.2: Ab-major

Recording by Ashkenazy

The timid skips to higher notes made this mazurka kind of cute, in a way. Additionally, it still sounds like a dance in some parts because of the arpeggiated bass: there really are always at least two sides to Chopin's mazurkas.

Mazurka no.36 - Op.59 no.1: A-minor

Recording by Ashkenazy

The wise use of appoggiaturas is really what makes the melody at the beginning of the piece so effective. I really like the F natural that he throws in with the tonic.

Mazurka no.35 - Op.56 no.3: C-minor

Recording by Ashkenazy

There were two modulations in this mazurka, I think. Unfortunately, I am still unclear as to why Chopin chose to modulate to the keys that he did.

Among his mazurkas, this seems to be one of the more heartfelt ones.

Mazurka no.34 - Op.56 no.2: C-major

Recording by Ashkenazy

This mazurka had a bit of Spanish flavor to it, perhaps because of the chromaticism and the way that the ornamentations were placed.

Mazurka no.33 - Op.56 no.1: B-major

Recording by Ashkenazy

I am wondering why Chopin modulated to Eb major from B major, specifically why he chose Eb major. Apparently my theory skills aren't up to par yet, because theory-wise, it doesn't make sense to me.

Mazurka no.32 - Op.50 no.3: C#-minor

Recording by Ashkenazy

Seriously, the variance of feeling that Chopin expresses in all of his pieces is phenomenal. This one is a prime example of that because there are sentimental and majestic sections that are both contained in the piece.

Mazurka no.31 - Op.50 no.2: Ab-major

Recording by Ashkenazy

I just really enjoyed the genuine, enthusiastic liveliness of this piece!

Mazurka no.30 - Op.50 no.1: G-major

Recording by Ashkenazy

The syncopation in this mazurka is spunky and quite unexpected. It just doesn't seem natural to accent the second beat so heavily, which makes listening to this mazurka uniquely exciting.

Mazurka no.29 - Op.41 no.4: Ab-major

Recording by Ashkenazy

The pulse of this mazurka was very strong. I liked the way that Chopin wrote the opening melody to have five beats of eighth notes followed by one quarter note.

Mazurka no.28 - Op.41 no.3: B Major

Recording by Ashkenazy

The main theme of this mazurka is very simple but effective. All Chopin does is use accented passing tones to move to the tonic chord. He repeats this sequence three or four times to constitute the main theme.

Mazurka no.27 - Op.41 no.2: E minor

Recording by Ashkenazy

This mazurka modulates from a minor to a major key and back. Perhaps this is just because the mazurka is in minor, but Chopin just has a very introspective sound.

Mazurka no.26 - Op.41 no.1: C sharp minor

Recording by Ashkenazy

Right away, I noticed that this piece starts out introspectively, then comes out of self-evaluation, if you will, and is very light and extroverted.

Mazurka no.25 - Op.33 no.4: B-minor

Recording by Ashkenazy

One thing that was instantly apparent about this mazurka was that there were a lot of ornamentations used in it, specifically mordents, trills, grace notes, and the like. I especially liked how playful and thoughtful it was for Chopin to include a left hand solo about three-fourths of the way through the piece. The ending is surprising: it seems to be fading away until all of sudden an accented note surprises you and it ends with a bang!

Mazurka no.24 - Op.33 no.3: C-major

Recording by Ashkenazy

The frequent use of chromatic steps in this piece made it playful. This was made especially obvious because of their rhythmic placement at the sixteenth note after the dotted eighth note.

Mazurka no.23 - Op.33 no.2: D-major

Recording by Ashkenazy

The "oom-pah-pah" bass of this piece really makes it feel like a dance, which is something that the bass doesn't necessarily typically do in Chopin's mazurkas.

Mazurka no.22 - Op.33 no.1: G#-minor

Recording by Ashkenazy

I really enjoyed how minimalistic the bass is during the first part of this piece. The piece itself embodies a sense of contemplation.

Mazurka no.21 - Op.30 no.4: C#-minor

Recording by Ashkenazy

In this mazurka, Chopin repeats very short musical phrases that lead to different places and chord progressions.

Mazurka no.20 - Op.30 no.3: Db-major

Recording by Ashkenazy

I like how Chopin switches to the relative minor in this piece, so you can hear the melody in both Db major and Db minor. It gives one an interesting perspective.

Mazurka no.19 - Op.30 no.2: B-minor

Recording by Ashkenazy

I liked how the way the piece was written showcased the purpose of 3/4 time. The emphasis on the first beat was very pronounced, which was one of the things that drove the music forward.

Mazurka no.18 - Op.30 no.1: C-minor

Recording by Ashkenazy

One of the major things that I noticed about this piece was that it uses a lot of chromatics, perhaps to increase the unresolved feel in that moment and thus subsequently increase the feeling of resolution when going back to tonic.

Mazurka no.17 - Op.24 no.4: Bb-minor

Recording by Ashkenazy

The variation in the dynamics of this piece heightens the intensity of it. Also, the fact that the melody ascends as it hits its climax serves to intensify its effects.

Mazurka no.16 - Op.24 no.3: Ab-major

Recording by Ashkenazy

The successive downward steps in the melody followed by upward skips was very effective in making the melody interesting.

Mazurka no.15 - Op.24 no.2: C-major

Recording by Ashkenazy

I liked how the mazurka switched from C Major to Bb minor. And the main theme is so catchy! It just makes me want to skip around and love life.

Mazurka no.14 - Op.24 no.1: G-minor

Recording by Ashkenazy

The crispness of the rhythm in this mazurka is quite fascinating. Having a sixteenth rest in between the eighth note and the sixteenth note instead of having a dotted eighth was an interesting choice that made the rhythm much more precise and crisp in the beginning melodic line.

Mazurka no.13 - Op.17 no.4: A-minor

Recording by Ashkenazy

One thing that really stuck out to me about this piece was the step-wise bass line during the main theme. This helped give the feel that the theme was 'going somewhere.' Also interesting to note is that the piece ends on a submediant chord. Odd.

Mazurka no.12 - Op.17 no.3: Ab-major

Recording by Ashkenazy

This mazurka has a traditional, bouncy feel to it, a lot of which may have to do with the major sixth and major seventh skips in the melody in the right hand.

Mazurka no.11 - Op.17 no.2: E-minor

Recording by Ashkenazy

I really enjoyed the melody on this one.

Mazurka no.10 - Op.17 no.1: Bb-major

Recording by Ashkenazy

Unlike a lot of the mazurkas that I have listened to, this mazurka really sounds like it is dance material. I think this is because of the pulse and the continual emphasis that Chopin put on the strong beats instead of the weak beats.

Mazurka no.9 - Op.7 no.5: C-major

Recording by Ashkenazy

The tempo of this mazurka just astounds me! It's in 3/4 and the dotted half note gets the tempo marking of 60!

Mazurka no.8 - Op.7 no.4: Ab-major

Recording by Ashkenazy

This mazurka has a really bouncy feel to it, perhaps because of the utilization of both triplets and eighth notes.

Mazurka no.7 - Op.7 no.3: F-minor

Recording by Ashkenazy

I really liked how Chopin switched between major and minor keys in this mazurka.

Mazurka no.6 - Op.7 no.2: A-minor

Recording by Ashkenazy

This mazurka contains the melody entirely in the right hand with the left hand providing pure accompaniment. I really enjoy how the melody dances; the ascending chromatics add to the sultry feel.

Mazurka no.5 - Op.7 no.1: Bb-major

Recording by Ashkenazy

This mazurka was very light-hearted; there was a lot of ornamentation and trills. The feel of it was bouncy: that really is the best word to describe it.

Mazurka no.4 - Op.6 no.4: Eb-minor

Recording by Ashkenazy

One thing that I noticed about this mazurka is that the rhythmic emphasis is on beats two and three, not on beat one, which is more common in music. However, this uncharacteristic rhythmic emphasis is actually quite characteristic of a mazurka.

Mazurka no.3 - Op.6 no.3: E-major

Recording by Ashkenazy

The beginning of this mazurka is really exciting because the bass enforces the beat; the accents make this exciting to listen to.

Mazurka no.2 - Op.6 no.2: C#-minor

Recording by Ashkenazy

I looked up "mazurka" on Wikipedia because I wasn't sure exactly what it meant. "The mazurka (in Polish, mazurek). Polish folk dance in triple meter, usually at a lively tempo, and with an accent on the second or third beat."

This mazurka was not at a lively tempo (I don't think) and it doesn't seem like you could dance to it. Sometimes I wonder about those Polish people...Actually, on a serious note, the melody of this mazurka cuts quite deep. Chopin definitely was inspired. As usual, every note seems like it is in its proper place.

Mazurka no.1 - Op.6 no.1: F#-minor

Recording by Ashkenazy

The thing that really makes this mazurka is the catchy, unusual rhythm. The rhythm in this particular piece is as important, if not more important than the melody. Another thing that I noticed was that Chopin used a lot of suspensions in this piece.

Impromptu no.4 - Op.66: C#-minor

Recording by Rubinstein

Yeah, this is a REALLY famous one. REALLY famous.

It's not a wonder that it's famous, either. The beginning has this engrossing, dynamic melody that sounds like every single note is meant to be there. The B section contains this dream-like theme that flows right back into the A section. Perfect. Learning this piece would be awesome.

Impromptu no.3 - Op.51: Gb-major

Recording by Cziffra

One really interesting thing about this is that it is written in 12/8 time. An unusual time signature...

Chopin does it again when it comes to the emotion of the piece. The A section is light-hearted, and the B section is pensive and moody.

Impromptu no.2 - Op.36: F#-major

Recording by Rubinstein

The key of this piece is important to note; there must have been a purposeful reason for why Chopin didn't write in Gb major, for instance. I like the contrast between the loud, (inherently choppier), dotted eighths beamed to sixteenth notes and the quieter, more flowing triplets. Chopin is brilliant at creating two completely opposite moods in a single piece.

Impromptu no.1 - Op.29: Ab-major

Recording by Rubinstein

Having listened to all of the etudes, I am moving on to the impromptus; there are only four of them.

This first impromptu has a theme with several sections that sound unresolved, and this drives the listener to anticipate the next part of the piece. It also drives the music forward. As a whole, this piece flows remarkably well; the use of continuous triplets may have something to do with this.

Etude no.27 - Op.posth. Novelles Etüde No.3: Db-major

Recording by Biret

I think this etude may be about isolating fingers in the same hand. In this particular etude, the lower fingers in the right hand are playing staccato notes while the upper fingers are playing legato.

Etude no.26 - Op.posth. Nouelles Etüde No.2: Ab-major

Recording by Rubinstein

This etude also deals with triple over duple rhythms. The right hand fingerings have to be exact to maximize efficiency in shifting from chord to chord.

Etude no.25 - Op.posth. Novelles Etüde No.1: F-minor

Recording by Rubinstein

This etude has to do with rhythm; the pianist must play three triplet quarter notes in the left hand over four eighth notes in the right hand and make it sound smooth. A very beautiful piece, quite poignant.

Etude no.24 - Op.25 no.12: C-minor

Recording by Perahia

This etude focuses on arpeggios, which require calculated attention to certain aspects of finger movement. If the movements are not correct, the pianist will not be able to play the notes fast.

Etude no.23 - Op.25 no.11: A-minor

Recording by Perahia

This piece is founded on the chromatic scale and is focused on agility. The pianist has to focus on accentuating the melody without letting the accompaniment get too loud; this can be difficult because part of the accompaniment is in the same hand that the melody is in.

This etude is one of those dynamic ones that would be absolutely stunning to see live in concert.

Etude no.22 - Op.25 no.10: B-minor

Recording by Perahia

Well, the theme of this etude is obvious: most of it consists of consecutive octaves. This serves to build up the strength of the pianist's hands and wrists. Playing octaves uses different muscles than playing consecutive notes does.

Etude no.21 - Op.25 no.9: Gb-major

Recording by Pollini

To be honest, I'm not quite sure what the exact purpose of this etude is...Perhaps it is about playing rapid octaves in succession (while alternating the octaves with chords)? The left hand looks like it could be working on precise jumps, because there is a lot of jumping from single lower notes to higher chords.

Etude no.20 - Op.25 no.8: Db-major

Recording by Pollini

This right-hand etude involves detailed fingering as it relates to parallel sixths, etc. Once again, there are no shortcuts here because of the rapid tempo. I'm not sure why you would want to attempt a shortcut, either, because the ascending sixths are much easier to play when the proper fingering is used.

Etude no.19 - Op.25 no.7: E-major

Recording by Perahia

In this etude, Chopin shows his emotional side. This is a slow etude, containing a tempo marking of "lento." Don't be fooled by this, however. Though the beat is slow, the rhythm is actually quite fast in some areas where the left hand has chromatics to deal with. I like how Chopin characteristically gives almost equal weight to both hands, instead of just giving the left hand a simple accompaniment or the right hand a simple melody.

Etude no.18 - Op.25 no.6: G#-minor

April 18, 2011: On or before this day is when I plan on being done with listening to all of Chopin's works...that will be exactly one year from when I started...just a clarification in case you thought that I was going to listen to one every single day. That has turned out to be quite a stressful ideal.

Recording by Pollini

Obviously, this etude is dealing with rapid parallel thirds. The right hand has to be extremely agile. Also, the fingering can NOT be fudged. Proper fingering is imperative, so that the pianist doesn't stumble over their fingers when playing the thirds in succession.

Etude no.17 - Op.25 no.5: E-minor

Recording by Horowitz

This etude is light and deep at different periods during the piece. Accentuating the melody wherever it is located is an important part of this piece's goal. Sometimes the melody is in the right hand and other times it is in the left hand.

Etude no.16 - Op.25 no.4: A-minor

Recording by Pollini

This etude focuses on exact staccatos and legatos. It would not nearly as exciting without the correct, exact sounding of these two articulations.

Etude no.15 - Op.25 no.3: F-major

Recording by Pollini

This etude is definitely concerned with accuracy in terms of mordents and accents. According to Wikipedia, "a mordent is an ornament indicating that the note is to be played in a single rapid alternation with the note above or below....The term comes from the Latin mordere, meaning "to bite." There are a number of notated mordents in this etude, meaning that the mordent sign isn't shown but each note is written out individually. As far as accents are concerned, they occur on the "ands" of every note, such as one AND two AND three AND.

Etude no.14 - Op.25 no.2: F-minor

Recording by Perahia

This etude definitely takes some agility; just hearing it gives one this impression. Interestingly enough, every note in this piece sounds like it should be there. It ascends and descends little by little in such a way that, as a listener, it is very comfortable to experience.

Etude no.13 - Op.25 no.1: Ab-major

Recording by Rubinstein

Moving on to Opus 25, the first etude is perhaps the most famous etude of this opus. It is actually part of my repertoire. Technically it is quite challenging because there are about 24 notes to be played in each measure in each hand and only an approximate total of 5 of these notes should be accented: the rest of the notes have to be sounded quietly and evenly. The speed at which the etude should be played requires a significant amount of stamina, even though Rubinstein may make it sound easy. The pinky finger in the right hand must be especially strong because it is accenting the melody.

Etude no.12 - Op.10 no.12: C-minor

Recording by Richter

It is fitting that the last etude of this opus should be the most dynamic. This is one of the most famous, if not THE most famous Chopin etude of all time. (It was my text message alert for the longest time.)

It starts out with a booming G7 chord that is unforgettable. The left hand plays rapid sixteenth notes throughout the entire piece, while the melody is strongly emphasized with the use of octaves and chords (not just single notes). The etude would definitely not have the force that it carries were it not for the purposeful, careful use of dynamics which enhance the melody.

Etude no.11 - Op.10 no.11: Eb-major

Recording by Richter

This etude uses arpeggiated chords, which is the point of the exercise. It is difficult to play consecutive, fast arpeggiated chords for a long period of time, so this etude is probably meant to serve as an endurance piece. Also, it is hard to accent the last note at the end of the arpeggio, because the pinky finger is normally the one that plays it. So this etude also functions as a pinky finger awareness and strengthening exercise.

Etude no.10 - Op.10 no.10: Ab-major

Recording by Ashkenazy

I think this is the first etude for which I haven't been greatly in awe. The melody is greatly overpowered by the accompaniment, since parts of the accompaniment are in higher ranges (pitch-wise)than the melody. It's still a cool piece to listen to, but I just don't like the fact that the accompaniment distracts from the melody.

Etude no.9 - Op.10 no.9: F-minor

Recording by Ashkenazy

The melody of this etude is haunting; I personally think that Chopin's use of the minor 2nd helps to achieve this. With the emotionally moving melody, the etude is obviously not just meant to improve a pianist's technique. Rather, it is a legitimate piece in and of itself. Learning outcomes to consider from this etude include playing difficult rhythms and placing an emphasis on the melody where it might not be natural to do so.

Etude no.8 - Op.10 no.8: F-major

Recording by Perahia

This etude conveys a state of frenzy during multiple sections. Though much of the emphasis of the piece is on the right hand (as it is playing sixteenth notes ascending and descending during the entirety of the piece), the melody is actually in the left hand. Referring to the notated score (which hopefully wasn't edited, etc.), Chopin makes sure that the pianist is specifically emphasizing each beat in a given measure. This may be one of the outcomes that Chopin hoped for in this piece, to get the pianist to emphasize each beat, even though there are a lot of notes going at once.

Etude no.7 - Op.10 no.7: C-major

Recording by Ashkenazy

The first part of the etude strongly pulses because of the dynamic markings. One thing that really stands out about this etude is that, though the right hand moves really fast (like it does in most etudes), it is playing consecutive chords instead of individual notes. This is definitely a right-hand etude; the left hand really doesn't do that much, technically speaking. I think maybe one thing that Chopin was trying to accomplish with this etude was to get the pianist to evenly sound both notes in the chords in the right hand.

Etude no.6 - Op.10 no.6: Eb-minor

Recording by Richter

The melody of this etude conveys such longing. Almost seeming like a nocturne, the etude perhaps serves the purpose of dealing with a difficult-to-read key signature and a key change, as well as maintaining smooth, consistent sixteenth-notes (that don't overpower the melody or distract from it).

Etude no.5 - Op.10 no.5: Gb-major

Recording by Horowitz

I've heard this one before, too. The key of this piece is very important to how it works: because it is in G-flat major, most of the notes are black-key notes. If the piece was written in F major, for example, it wouldn't nearly make as much sense from a technical standpoint. The main motif of the piece (it can't really be called a melody because it is only three notes long )is in the left hand.

Etude no.4 - Op.10 no.4: C#-minor

Recording by Horowitz

Wow! I don't know how many times I'm going to say that throughout the course of this listening adventure, but every single time it is well-deserved.

This piece uses dynamics and articulation very well: the dynamics (FPs, etc.) make the melody all the more expressive and exciting. Exact articulation is necessary for the sixteenth notes that are present throughout the entire piece (so that the accompaniment isn't muddy). The way that the melody is constructed makes its intensity increase as the piece progresses. Additionally, the rhythm of this piece is very stable, as the emphasis is usually on each beat in each measure.

Etude no.3 - Op.10 no.3: E-major

Recording by Rubinstein

I have heard this piece many, many times, as I learned it myself. It is absolutely brilliant! The melody is in the right hand, a lot of which the pinky finger has to play: this is quite challenging. The way that the piece has two main ideas that are polar opposites really makes it interesting and dynamic. The flowing melody becomes schizophrenic in a heartbeat, then goes back to the melody as if nothing even happened.

Etude no.2 - Op.10 no.2: A-minor

Recording by Ashkenazy

Sounds similar to Flight of the Bumblebee because of the chromatic ups and downs. Not much else to say except that this one could definitely be more tricky to play because of its chromatic nature. Because of this nature, there doesn't seem to be a strong melodic force.

Etude no.1 - Op.10 no.1: C-major

I would be moving on to Chopin's chamber works today except that I can't find a recording right now. Also, since my life is kind of crazy at this moment, I am going to start on the piano etudes, which I know are short ;)

Recording by Ashkenazy

In this 2-minute etude, Chopin explored the key of C Major quite thoroughly. With the melody in the left hand, the pianist plays sixteenth-note arpeggios for the entirety of the song. Honestly, though this piece may sound difficult (and it definitely ISN'T an 'easy' piece), it really isn't that hard to learn because of the repetitious nature of the arpeggios.

Ballade no.4 - Op.52: F-minor

Recording by Emanuel Ax

Though the work is written in F minor, it starts out in a major key. The troubled melody is very poignant and actually quite touching and addicting. Ax makes the right hand melody sing; the fact that the melody is unstable makes it even more compelling. In the middle of the piece, a whole new melody is introduced: this melody has a very stable chord structure. After this new melody is introduced, Chopin again makes a substantial key change to A Major. Chopin soon changes back to F minor and after repeating the beginning main theme, repeats the theme with some virtuosic variations. This brilliant passage leads to a brief key change to C Major. Then comes the peak virtuoso passage, an absolutely stunning way to end the piece.

This is definitely one of the pieces that I want to learn...Wow! An all-around satisfying piece with both a stirring melody and some challenging passages for the pianist.

Ballade no.3 - Op.47: Ab-major

Recording by Rubinstein

The piece starts out sounding like a dance, which got me wondering what "Ballade" actually means. (According to Wikipedia, piano ballads are narrative in style. I couldn't find anything that said they are supposed to be like a dance, but Wikipedia DID say that Chopin frequently wrote ballades in 6/8 time.) After a free-spirited section, the beginning motif is repeated. Chopin has a very simple rhythmic pattern that occurs here, but because of his emphasis on the off-beats, interest is still retained. (The emphasis is on the third and sixth beats, instead of on the first and fourth.) The short sostenuto section before the third return to the melody contains an emotional peak. After making a key change to E Major, the pianist is allowed to show his skills through a rapid, fast-moving section. Further on, after going back to Ab Major, the pianist is challenged with simultaneous chords that span an octave. After descending arpeggio-like sixteenth notes, the piece ends dramatically on an Ab Major chord.

Ballade no.2 - Op.38: F-major

Recording by Rubinstein
The ballade starts out with a light, lilting feel in 6/8 with alternating quarter notes and eighth notes (hence the lilt). After modulating to A minor and then back to F major, Chopin introduces the "presto con fuoco" section. (Even though I am only on my second day of doing this, I am starting to think that Chopin had a tendency to write schizophrenic pieces. He goes straight from a lilting melody that reminds one of strolling through a meadow to FIRE.) Returning to the beginning melody, there is a moment of variation that is intriguing. There is a beat and a half (plus a fermata over the half) of rest which replaces the end of the melodic phrase: surprising. A repeated shift between lilting melody and stretto fortissimo sections ensues, followed by more fire. The agitato section ascends and descends chromatically until a fortissimo chord climax is reached. To finish the piece off, Chopin returns to the beginning octave lilt, ending in A minor.

Blog: New Direction. Inspiration: Undisclosed Source. Goal: listen to all of Chopin's works .

Lofty goal. Yes I know. Starting at the top of the list, which is comprised of 244 works (according to http://www.pianosociety.com/cms/index.php?section=636), is Ballade no.1 - Op.23: G-minor (1835). The recording I chose to listen to was by Vladmir Horowitz (one of my piano gods).

When I started listening, the first few notes were instantly familiar. Apparently I had heard this somewhere before. Not surprising. There is obvious yearning during the beginning measures of the piece: a melody of consistent dotted half-notes accompanied by a driving quarter note accompaniment. The composer seems to vent this yearning desire in the first passage of sixteenth notes, a kind of musical "sigh." This sigh turns into a frustrated cry during the sempre piu mosso section, which means that the tempo is "more fast throughout." After this release, the composer goes back to a gentle, calm melody that is supported by a river of eighth notes. This builds up to another peak with pounded chords that goes into another showy section of eighth note runs. Melting back gradually to the minor theme from the beginning, there is a moment of parallel sixths before the yearning desire explodes and the feeling is that of someone "losing it." This can be felt by the tempo marking that Chopin expressed, namely "Presto con fuoco," which means fast with fire. After some crazy sections that include chromatic scales, Chopin ends the piece on a booming G octave chord.

What an experience! I think this is going to be fun...

Music

Singing/listening to music/singing while listening to music is very refreshing. Lesson learned.

Steinway

Ever played on a Steinway? Probably. Ever played on a Steinway upright? Yeah...that's what I THOUGHT. It's fun to do something new, even if it's just playing on a Steinway upright for the first time. Lesson learned.

Harry Potter

I forgot how much I love the Harry Potter movies. It is often a good idea to go back to the stuff you liked 5 years ago and re-experience them. You may relive some awesome memories. Lesson learned.

Change

Change is good. Lesson learned.

Waiting

Procrastination WILL get you sometime. And the longer you wait, the more painful it is to get back to work. (No matter how much you tell yourself that waiting long enough will make the problem will go away.) It's like waiting to do laundry until it doesn't fit in the hamper anymore: the pile doesn't get smaller until you actually DO something about it. Waiting around doesn't change ANYTHING! Lesson I am trying to learn. ;)

Relatives

Gotta love those relatives! You never can have too many. Lesson learned.

Mayo

Nothing makes you feel quite as powerful as when your roommate asks you to open a jar of something, like mayo, and then you open it with ease. Lesson learned.

Music

I've realized this in the past, but there is nothing like one of your favorite songs (that you are personally attached to on a deep level) to motivate you and push you in the right direction. There is power in these songs that makes you think you can conquer things you didn't think you could. They open your mind and promote an optimistic outlook. There IS power in music! Lesson learned.

Flying

I looked out the window as much as I could today on my flight home...The awesomeness will never wear off. Have a sense of wonder and enjoy those things you learned when you were seven. Lesson learned.

Spray Bottle Fights

Random spray bottle fights are fun! Spontaneity makes everything more enjoyable ;) Lesson learned.

Out of Bread?

So I'm kind of running low on food right now so guess what? It gives me an excuse to be creative! Frosted Mini-Wheats, peanut butter, and honey are a GREAT snack! Lesson learned.

Laundry

Well...when you are doing your laundry, make sure you come back when your stuff is done. Otherwise, when you return, your wet laundry will be on the table and the dryers will be full. Lesson learned :)

Sometimes You Just Get Lucky

100% on my Book of Mormon test today. A combination of skill and luck. Mostly luck.

Mute

Buying a violin mute makes me feel like a real violinist; no matter how much you stink at playing an instrument, when you have all of the accessories, you just feel a little better about your skills.

Senior Recitals

Senior recitals are awesome! I will have to go to more of them! Also, no matter what happens with my prospects in getting into any kind of musical major, I am committing at this moment in time to have a senior recital. That is all.

Racquetball

I lost my intramural racquetball game today. But I tried SO hard! The score was 9-0, with myself winning, but my opponent came back little by little. I just made this process take as long as possible...I learned today that it's okay to lose as long as you make the victor suffer as much as possible before they win. Hang on for as long as you can; make them EARN it!

Deer

Sometimes awesome things can happen when you least expect them. Today as I was walking to the JFSB, two deer popped out of the bushes and bounded right through the middle of campus! Spontaneity makes life so much more interesting!

?

I have no idea what I learned today. Really.

Piano

So I went to Dr. Holden's piano concert tonight, and it was so awesome! (Twice!), I got to hear this one piece for a ten-pieced piano ensemble called "Entrada" by Stephen Scott; apparently, Dr. Holden got to spend some time with the composer and got specific instructions on how to do it. Why would he need specific instructions? Because the way that this piece is played is with 8-pound fishing line: the piano strings are BOWED! So today, I pretty much learned that when you do something differently from the way it is "supposed" to be done, like bowing the piano strings instead of hitting the keys, it can turn out amazingly! Plus, awesome side-note, I got to sit next to Paul Pollei, the founder and artistic director of the Gina Bachauer International Piano Foundation. You don't get to do that every day...

Names

Today I learned that it isn't a good idea to name two very similar things in close proximity by the same name. I was looking for the Benson Building today, but there was a severe problem: there are two Benson buildings, and they are on the same side of campus! One is called the Ezra Taft Benson Building, and the other is called the Ezra Taft Benson Agriculture and Food Institute. This is great evidence for why you should not name two of your kids the same thing...George Foreman, how do you do it?

Bach Menuets

Today, according to Professor Jennifer Williams Brown, I learned that many Bach menuets are supposed to be played at 70 beats a minute, which IS fast, but is most likely how they were played in Bach's time. As exemplified by this specific example, it is just as important to study the history of music performance as it is to study the history of music composition.

9/8

Today, the life lesson I learned was that using a whole note in the time signature of 9/8 is "grammatically incorrect." Thank goodness for educated music class TA's! In 9/8, instead of tying a whole note to an eighth note to equal nine beats, the proper "grammar" is to connect a dotted half note to a dotted quarter note. Ta-da!

Life Lessons Entry #1

So I've decided that for now, I will blog about a life lesson that I learn every day. Maybe they will be deep some days and other days, they may be totally and inexplicably random. Today I tried Top Ramen Chicken Flavor for the first time. I have been a Top Ramen Oriental fan for many years, but I kind of like the Chicken Flavor, I gotta admit. So today, I learned that it is good to try new things, even if it is just a new flavor of Top Ramen.

Numero Dos

My last entry sounded pretty pessimistic, so I decided that I would try to sound more optimistic today :) So today, I did NOT spill my oatmeal on the counter and my rice did NOT boil over and I did NOT eat three brownies. Ok, for reals, I got a 90% on my biology test! So that was something good that happened today. Now...back to work!

My First Entry (This Week is Going to Be Crazy)!!!

Sensory overload!!!!!!!

Pretty much that is how my life has been...I procrastinated SO much over the weekend that I will have a majorly crazy week this week. MAJORLY...Here goes: tomorrow I have to do some major studying for a bio test because that's the last day I can take it. ( This test is going to be a doozy, too; you can't make up or guess any of the answers. You have to know them! Question: At what light frequency is photosynthesis optimal? Answer: between 425 and 675 nm.) And for the first time in my BYU history, I will have to pay the $5 late fee to take the test. Also tomorrow, I have my weekly volunteering at Wasatch Elementary and then three and a half hours of class. To add to that, I'm supposed to go the library and watch Modern Times before my Humanities class. Additionally (can you tell that I have written one too many college papers?), I have a duet piece to write so that I can collaborate with my partner on Tuesday. I haven't even started on it yet; it's in A minor, 30 bars in 9/8 that sound like an earthquake. And I'm supposed to write it using Finale, which my partner showed me how to use, but I've never actually used the program before...If that isn't enough, I'm going to start my diet again tomorrow because I pretty much fail at keeping myself healthy without staying on it. I can't go half-way on anything; it's either all or nothing! The past couple of days, I haven't exercised at all and I ate an entire box of Swiss Rolls (Saturday) and 1/3 of a Betty Crocker Party Chip Cake today! I'm FAT!!! But do I care? That is tbd.
The same thing has happened to my piano practice; things can get so hectic here at college that I haven't gotten around to practicing since I finished auditions at the end of January. All or nothing...not a very good concept...I think that my brain isn't wired correctly. Speaking of auditions, I found out at the beginning of the week that I didn't get into the School of Music here at BYU. I went and had a chat with my piano professor, Dr. Hancock, after I found this out. (That was not a good day for me; I looked like a wreck and in fact, that was the first time I cried about anything (besides leaving my family) since before fall semester started in September.) Anyways, Dr. Hancock decided to ask the administrators if there was any way that they could fit me into the general Music B.A. degree here, which I have come to think would be a very good fit for me. No word yet on if they will let me in or not, but it seems that they may be the last hope for me to get a degree in music of any kind. Dr. Hancock really petitioned them hard, so I am grateful to him, whether or not I actually get into the program. And this week, I'm going to try and meet with the head of the Media Music degree, the degree which I didn't get in to, and see if I have any other options. I want music to be my life, but if I can't even get this far, is it really meant to be?

The rest of the week is not going to be any easier. I have a mid-term in Humanities that I haven't even started studying for yet and a major project in Biology that I'm going to have to completely re-work. I wanted to study the times and conditions at which crickets start chirping at night, but as it turns out, there are no crickets where I live. So I think that I'm going to change it to a study of what times and conditions at which birds start chirping in the morning. Which means that I will have to get up at sunrise for the next couple of weeks...AAAUGGGHHH!

On top of all of this, I'm still looking for a job. I've interviewed for four different ones over the course of a few weeks, but I didn't get the job each time. I've applied on-line, too, but still, nothing has come up.

And right now, I'm mad at the library, too, because I have a major fine on my card for something that I returned and they lost. So I also have to go and file an appeal at the library so they can fix it.

I think I'm going to die...