利奥普德·戈多夫斯基(Leopold Godowsky)的练习曲改编创作始于对《肖邦三度练习曲》(Op.25 no.6)弹奏指法的实验性改编。当时他正在寻找一种半音音阶的弹奏指法,从而尽可能消除手指过多的连续性重复动作,以便获得更纯正圆滑的连音。自从发现这种弹奏指法后,戈多夫斯基开始尝试将右手的部分演奏内容转换到左手弹奏,然后他发现左手的弹奏也完成得同样出色。于是他就把整段内容的弹奏都转移到了左手,结果发现左手完全能胜任这样的改编。从此,戈多夫斯基便开始了针对左手的练习曲改编,并且总结得出:如果给与左手同等机会,它将会比右手更容易得到开发和提升。 Leopold Godowsky’s Etude adaptation began with the experimental adaptation of the fingering of Op.25 no.6. At the time, he was looking for a semi-scale fingering that would eliminate as many repetitive movements of fingers as possible in order to get a more pure and smooth doublet. Since discovering such a fingering gesture, Gododovski began to try to switch part of his right hand to his left hand and found that his left hand was equally well done. So he put the whole content of the play are transferred to the left hand and found that the left hand is fully capable of such adaptation. From then on, Gordovski started his adaptation of the left-handed Etude and concluded that it would be easier to develop and upgrade than the right hand if given the same chance as the left hand.