Finally, practice the etude as written, working to maintain the consistency and beauty of tone through the variety of articulation patterns and dynamics. Next, practice the entire etude with a light, unforced staccato articulation, maintaining the quality of sound achieved while slurring. While you do this, concentrate on keeping your finger technique even. First, practice the entire etude slurred, with a beautiful, resonant tone, keeping the air stream spinning through each note, interval, and phrase, and listening for evenness of technique. Start slowly, using a subdividing metronome, focusing on the beauty and consistency of tone in every register, coordinating your fingers and tongue with your airstream. The quick tempo, technical demands, articulation patterns, and soft dynamic make executing slurs through larger intervals, including the ninths (mm. Gradually increase the tempo until you are able to feel the larger beat in 2 while continuing to subdivide in 4 this will provide a sense of forward motion in the phrasing and prevent rushing. Begin your practice of this etude slowly in 4, using a metronome consistently to help maintain a steady tempo. This etude, marked “Leggero, grazioso e veloce” (Lightly, gracefully, and swiftly), requires a flexible, consistent airstream, excellent control of the piano dynamic, and a fluid finger technique to capture its nimble, graceful character. Daily long tone warm-ups and technical practice within the keys of each etude (major/minor/chromatic scales, arpeggios, seventh chords, patterns of intervals and sequences), using the variety of rhythms, articulations and dynamics found in each, will help you to more efficiently meet the technical and musical challenges presented in these selections. Take the time to mark accidentals, expressive and dynamic markings, and identify repeating patterns of scales, sequences, intervals, and varying articulations, to ensure that each etude is learned correctly from the start.

M.23 - the low C on the first note of beat 1, change to an E-flatĪs you begin work on these etudes, study your music away from your instrument. M.22 - the low C-sharp on first note on beat 4, change to an A-flat (2nd and 4th notes in beat 4 of m. M.18 - the low C on the last note of measure, change to an E-flat M.9 - the low C-sharp on the last note of beat 1, change to an F-sharp M.6 - play the low C-sharps and low Ds up an octave 16 - last note is a G-natural, not a G-flat 14 - second note in BEAT 2 is a C-natural, not a C-sharp 14 - second note in BEAT 1 is an A-natural

E flat major scale alto sax