The situation changed in the early 19th century because of the growing popularity of the piano as a domestic instrument. Instruction books with exercises became very common. Of particular importance were collections of "studies" by Johann Baptist Cramer (published between 1804 and 1810), early parts of Muzio Clementi's Gradus ad Parnassum (1817–26), numerous works by Carl Czerny and Ignaz Moscheles' Studien Op. 70 (1825–26). Most of these pieces concentrated on the technical side of music and were not intended for performance. However, with the late parts of Clementi's collection and Moscheles' Charakteristische Studien Op. 95 (1836–37) the situation began to change, with both composers striving to create music that would both please the audiences in concert and serve as a good teaching tool. Such combination of didactic and musical value in a study is sometimes referred to as a concert study.
Frédéric Chopin's etudes, Op. 10 (1833) and Op. 25 (1837) were the first to retain a firm position in the concert repertory, and are commonly regarded today as some of the finest etudes ever written. The technique required to play them was extremely novel at the time of their publication, and the first performer who succeeded at mastering these pieces was the renowned virtuoso composer, Franz Liszt (to whom Chopin's Op. 10 is dedicated). Liszt himself composed a number of etudes that were more extensive, and even more complex than Chopin's. Among these, the most well-known is the collection Etudes d'Execution Transcendante (final version published in 1852). These did not retain the didactic aspect of Chopin's work, however, since the difficulty (and the technique used) varies within a given piece. Collections of etudes by Charles-Valentin Alkan, marked by harmonic and structural experimentation, are similar in this aspect. Alkan's work includes some of the first etudes written for a single hand.
The 19th century also saw a number of etude and study collections for instruments other than the piano. Violin etudes by Rodolphe Kreutzer, Federigo Fiorillo and others, and cello etudes by Friederich Dotzauer and Friedrich Wilhelm Grutzmacher are used mostly as teaching tools today. The only etudes to make their way to concert repertory are those by Niccolò Paganini: 24 Caprices (1802–17). These works all conform to the standard definition of 19th century etude in that they are short compositions, each exploiting a single facet of technique.
Towards the end of the 19th century, the flautist and composer,Ernesto Köhler wrote a series of study books called "Progress in Flute Playing" Op.33. These are a series of 3 books varying from difficulty of Easy to Advanced, and they were published c.1880.
By mid-century the old etude tradition was largely abandoned. Olivier Messiaen's Quatre études de rythme ("Four studies in rhythm", 1949–50) were not didactic compositions, but experiments with serial durations and pitches. John Cage's etudes—Etudes Australes (1974–75) for piano, Etudes Boreales (1978) for cello and/or piano and Freeman Etudes (1977–80, 1989–90) for violin—are aleatoric pieces based on star charts, and some of the most difficult works in the repertory. The three books of etudes by György Ligeti (1985, 1988–94, 1995) are perhaps closest to the old tradition in that they too concentrate each on a particular technique.