PIANO

Chopin – Etude Op. 25 No. 2

MARINA LOMAZOV
 ABOUT THE ARTIST
Praised by critics as “a diva of the
piano” (The Salt Lake City Tribune), “a
mesmerizing risk-taker” (The Plain
Dealer, Cleveland), and “simply
spectacular” (Chicago International
Music Foundation) Ukrainian-
American pianist Marina Lomazov has
established herself as one of the most
passionate and charismatic
performers on the concert scene today.
Marina Lomazov has given major
debuts around the world and won
several important piano competitions.
She studied at the Kiev Conservatory
and holds degrees from Juilliard and
Eastman. Today, Ms. Lomazov is a
Professor of Piano at the Eastman
School of Music.

PIANO
 character and analysis

tempo and rhythm

phrasing, technique, and practicing

Watch the tonebase lesson

fingering and pedaling Download plain edition

It’s possible for anyone to learn this etude, even if you’re older!

when pra c c
ti y
ing slowl , listen for the
learn to hear the downbeats, but de-emphasize them
harmon y and the triplet subdi vision
bring out the middle of the triplets

prac cti e grouping

left-hand grouping

last note is softest

dominant tonic
When you emphasize the interesting notes against the The left hand is a descending tide, while
metric division, the music suddenly comes to life. the right hand is more of a dance.

Once you’ve figured out how the hands interact, practice small, easy,
Apply Lomazov’s Seven Practice Strategies to this etude.
groupings to get them under your fingers. Then stitch them together.

Any two notes are not hard, but it takes time and practice to

figure out how the hand moves between these small groups.

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 Whatever you hear in the music, chances are that the audience hears it too.

Listen as deeply as you can; notice how the harmony unfolds and when the pattern changes.

when the right-hand pattern is stationary, you can focus on the left hand

change of direction! down-down-up:

try to vary the pedaling this time

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 this shift is much easier if you’re always
thinking in three-note descending groups

5
 take care to minimize the downbeats

6
 Perhaps Chopin felt nostalgiac in this etude; his homeland was calling out to him.

Chopin probably didn’t know what a curveball was,

but he sure threw us one here:

Codetta

these two measures require plenty of extra time Lomazov has recently started learning pieces from the

end so she doesn’t run out of energy