Étude

Yeah.

Fun little fact that before we named In Stride In Stride, one of our co-founders and I were really gunning for Etude.

Etude is a technical musical piece that gives skill and helps you build talent.

We got overridden, but music has just always been a huge part of me.

And as I think about even my own kids and I think about patients and families, I want everybody to be able to find that something that they're passionately obsessed about, and that was music for me.

But her general appearance escapes me altogether.

To the left of the sofa stood an English piano, at which my dark-haired sister Lubotshka was sitting and playing with manifest effort, for her hands were rosy from a recent washing in cold water, Clementi's Etude.

Then, eleven years old, she was dressed in a short cotton frock and white-laced frilled trousers, and could take her octaves only in arpeggio.

Beside her was sitting Maria Ivanova, in a cap adorned with pink ribbons and a blue shawl.

I mean... black and white and red all over, you know, okay, so we know that's a newspaper, but it's, She had really clever things, but her magazines was the ones that I learned more from than anything, particularly when I was learning to play the piano with her.

She took Etude and some other magazine that came once a month, and it always had hymns, and it always had patriotic songs, and it always had...

A classical thing.

And then in it was a story about one of the composers of the past.

It's impossible.

I like Etudes of Capustin's Etudes, but I don't like number three, or I don't understand number five, and number four, and number five.

But I still love this music.

I love most of Prokofiev's compositions, but there are some opposites from late 20s till early 30s, which I don't understand and I don't like it.

Of course, there are some compositions which present difficulties which few work hard enough to surmount.

Among these might be mentioned the Godowsky Chopin Etudes, particularly the Etude in A-flat, Opus 25, No. 1, which is always especially exasperating for the student sufficiently advanced to approach it, the Don Juan Fantasy of Liszt, the Brahms-Paganini Variations, and the Beethoven Opus 106, which, when properly played, demands enormous technical skill.

One certainly saves a lot of bother when one discards it from one's repertoire.

If these four pieces are not the most difficult pieces, they are certainly among the most difficult.

Ease in playing is always admirable and comes in time to all talented students who seek it.

The Deppi method of hand position, while pedantic and unnecessarily long, is interesting and instructive.

Personally, I advocate the use of the etudes of Chopin, Montchesles, and the Etudes Transcendantes to all advanced pupils.

I have used them with pupils with invariable success.