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17633909
17633909
17633909

Etudes

extrait du - excerpt from Serie I Vol. 6

By Claude Debussy

https://www.sheetmusicplus.com/title/etudes-sheet-music/17633909?aff_id=68820&%25253BNtt=Loss+Lost+Regrets

Piano
Extrait du - excerpt from Serie I Vol. 6. Composed by Claude Debussy (1862-1918). Durand Oeuvres Completes de Claude Debussy. Studies & Exercises. Book Only. Composed 2007. Editions Durand #DD 01573900. Published by Editions Durand (HL.50564895).

Item Number: HL.50564895

9x12 inches.

These Etudes are deliberately presented without fingering for the following reasons: It is only logical that a single set of fingering will not suit all shapes and sizes of hand. Some modern editors try to get round this by piling different fingerings on top of one another, which only serves to add to the confusion... Music then startsto resemble some strange mathematics, producing an inexplicable phenomenon, whereby the fingers unaccountably multiply.The story of Mozart who, as a child prodigy on the harpsichord, finding himself unable to span all notes in a chord, fondly imagined he could hit one with the end of his nose, does not really resolve the problem; and in any case may owe more to theimagination of an over zealous editor than to reality.Our old Masters -- I might mention here "our" admirable harpsichordists -- never indicated any fingering, undoubtedly relying on the intelligence of their contemporaries. Similarly, it would be individious to doubt that of today's virtuosi.In conclusion: the absence of fingering is an excellent exercise, removes the temptation to change the composer's fingering merely for the sake of contradiction, and confirms the old saying anew, "Your own best servant is yourself."Let us discover our own fingering.

Claude Debussy's Études: Livres I & II for solo Piano.



These Etudes are deliberately presented without fingering for the following reasons: It is only logical that a single set of fingering will not suit all shapes and sizes of hand. Some modern editors try to get round this by piling different fingerings on top of one another, which only serves to add to the confusion... Music then startsto resemble some strange mathematics, producing an inexplicable phenomenon, whereby the fingers unaccountably multiply.The story of Mozart who, as a child prodigy on the harpsichord, finding himself unable to span all notes in a chord, fondly imagined he could hit one with the end of his nose, does not really resolve the problem; and in any case may owe more to theimagination of an over zealous editor than to reality.Our old Masters -- I might mention here "our" admirable harpsichordists -- never indicated any fingering, undoubtedly relying on the intelligence of their contemporaries. Similarly, it would be individious to doubt that of today's virtuosi.In conclusion: the absence of fingering is an excellent exercise, removes the temptation to change the composer's fingering merely for the sake of contradiction, and confirms the old saying anew, "Your own best servant is yourself."Let us discover our own fingering.

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  • Ratings + Reviews

  • 5

    Anonymous
    Difficulty Level:
    Advanced
  • February 21, 2010 The BEST book of technique available

    While people continually dispute over whether liszt or chopin is better for developing a solid technique, I found this set of etudes and was instantly interested. This edition is magnificent - great print, well laid out for page turns, high contrast - and each debussy etude, while transcendentally difficult to play, is...

    more pianistic than chopin or liszt and is quick to learn and unbeatable in its ability to teach technique. Magnificent!

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    33 of 55 people found this review helpful.
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