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12 Etudes Tradition?

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    12 Etudes Tradition?

    There's something that I don't quite understand and maybe it has a pianistic or even logical answer: Why do most piano composers adhere to a set or opus of only 12 etudes? I've noticed this trend but I don't know what's so special about the number 12 aside from the piano's 12 pitches. Bear with me, though, because I'm just a little amateur pianist and I don't know that much about piano anyway.

    Let me list the following etudes I know of with 12 in each opus:

    Chopin's Op. 10 and 25
    Liszt's Transcendetal Etudes
    Scriabin's Op. 8
    Alkan's Op. 35 and 39
    Henselt's Op. 2
    Moscheles' Op. 95
    Schumann's Op. 13
    Debussy's L.136

    Now, that's a lot of composers who liked to limit their etude opus to 12 pieces. I know there are those (some even in the above mentioned) that have 6 in each opus, or odd numbers like Saint-Saens and Rachmaninoff; and then there's Hummel's 24, which is still like two 12's added together. But why not an etude set of 8 or 11? There definitely seems to be a trend or "tradition" for twelve. Am I wrong?

    Can someone enlighten me about why this magic number of 12 prevails as the limit for a set of etudes? I bet this has a simple answer having to do with the keys (major and minor) or something, but I feel I need to display my ignorance and ask anyway =)

    #2
    It is to do with the keys as you say. You forgot the most important etudes of all, wherein the answer lies - Bach's 48 Preludes and Fugues.

    ------------------
    'Man know thyself'
    'Man know thyself'

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