During the Nineteenth century, with the population of the public concert, many performers have started devoting themselves to the development of technique, expecting that could appeal to more audience. Under the influence of Paganini, virtuoso not only gets to the top, but also let the pianists devote themselves to develop technique on the keyboard, expecting that they can win brilliant results in the concert. Under such situation, studies have been published in a great amount. Gradually, composers and pianists try not to only make the music with virtuositic spirit but also with lyricalism within them. In addition to the introductions and conclusions, the research could be divided into three chapters. The first chapter, discussion of the musical background, includes the music environment during the nineteenth century, the mechanism improvement of the pianos, and the development of the concert etude. Chapter two is the analyses of the concert etude technique and characters. Famous composers, such as Chopin, Schumann and Liszt, their concert etudes will be discussed. Chapter three investigates the concert etudes of the other composers in terms of their nationalities-Germany, France, Russian, American, and Poland. Concert etudes that developed in the nineteenth century would be no longer the simple etudes for finger exercise, but the masterpieces with the inner intension. To pianists in late twenty century, these concert etudes should be not only methods for teaching but also essential in concert programs.