 " Like ... Chopin " , writes pianist and academic Kenneth Hamilton , " Alkan 's musical output was centred almost exclusively on the piano " . Some of his music requires extreme technical virtuosity , clearly reflecting his own abilities , often calling for great velocity , enormous leaps at speed , long stretches of fast repeated notes , and the maintenance of widely spaced contrapuntal lines . The illustration ( right ) from the Grande sonate is analysed by Smith as " six parts in invertible counterpoint , plus two extra voices and three doublings – eleven parts in all . " Some typical musical devices , such as a sudden explosive final chord following a quiet passage , were established at an early stage in Alkan 's compositions . Macdonald suggests that 
 " Like ... Chopin " , <a href='uninflect' title='1'><mark>writes</mark></a> pianist and academic Kenneth Hamilton , " Alkan <a href='null_genetive' title='2'><mark>'s</mark></a>musical output was centred almost exclusively on the piano " . Some of his music <a href='uninflect' title='3'><mark>requires</mark></a> extreme technical virtuosity , clearly reflecting his own abilities , often calling for great velocity , enormous leaps at speed , long stretches of fast repeated notes , and the maintenance of widely spaced contrapuntal lines . The illustration ( right ) from the Grande sonate is analysed by Smith as " six parts in invertible counterpoint , plus two extra voices and three doublings – eleven parts in all . " Some typical musical devices , such as a sudden explosive final chord following a quiet passage , <a href='uninflect' title='4'><mark>were</mark></a> established at an early stage in Alkan <a href='null_genetive' title='5'><mark>'s</mark></a>compositions . Macdonald <a href='uninflect' title='6'><mark>suggests</mark></a> that 
 Like ... Chopin  , write pianist and academic Kenneth Hamilton , " Alkan  musical output was centred almost exclusively on da piano " . Some of his music require extreme technical virtuosity , clearly reflecting his own abilities , often calling for great velocity , enormous leaps at speed , long stretches of fast repeated notes , and tdamaintenance of widely spaced contrapuntal lines . The illustration ( ryte ) from the Grande sonate is analysed by Smith as " six parts in invertible counterpoint , plus two extra voices and three doublings – eleven parts in all . " sum typical musical devices , such as a sudden explosive final chord following a quiet passage , was established at an early stage in Alkan  compositions . Macdonald suggest dat