This delightful study is in the character I’ve come to think of as “Czerny-happiness,” a kind of Bournonville-for-piano that is unique to...

At first #17 didn’t seem to me to have much to recommend itself except that in a collection of mostly quite difficult studies it’s rather...

As written, and a bit under Czerny’s tempo, #18 is muscular fondu music (one count per bar). You can muffle and undulate it or play it ra...

In ballet class a measure of 3/4 is usually counted as a single count in a combination. Even if you can get to Czerny’s speed, #19’s slow...

Czerny’s regular phrase lengths and cadences in the tonic make #20 a ready-made one-pager: just play mm 1-32. But it would be well to mak...

When Czerny has the hands move in parallel with the same note values my strategy is to have the hands trade off: one hand plays the note ...

In my opinion, only if you can get at or near Czerny’s tempo can you keep #22 from sounding trite. It’s musical ideas are so slight that ...

The first 32 measures of #23 make a stand-alone piece well suited to ballet class across a range of tempos, and not particularly difficul...

Czerny’s researches into different note patterns and their sonorities on the piano led to the particularly happy device of #24: the RH pl...

This study well exemplifies the “working” hand/ “supporting” hand contrast in Czerny’s compositional process. You can project it lightly ...

As noted elsewhere in my commentaries, a teacher may set a combination in a very slow three with each beat subdivided, amounting to a 3/2...