It’s well to go into some detail analyzing my approach to this first study of Op 335; the analysis can serve as illustration of my approach to the rest of th...

This is certainly very modest music, and at Czerny’s deliberate tempo you have to work to keep it from sounding banal. But the clear 2-part counterpoint and ...

This is great frappe music. The energetic staccato and the 8th note anacruses in the A Section powerfully energize the downbeats--the “strike” of a frappe--a...

Almost all the studies of Op 335 feature polyphony in 2 or more voices, and often, as here, 3 and 4 voices. But with 4 voices Czerny tends, as here, to avoid...

Like many of the studies of op 335 this one is in simple binary form and four-square structure, making it ready-made for ballet class...except for the 3/2 me...

In several ways this is the ideal Czerny study for a ballet accompanist. Its four-square binary structure is ready-made for ballet class, and its character m...

A certain amount of Baroque-sounding music and Baroque-sounding counterpoint, if not too dense or complicated, has always been welcome in the classes I’ve pl...

The light drumming 4- and 8-note figures played at great speed, moving diatonically up and down the keyboard, and the fairly static harmony in long-notes giv...

The part-writing of #9, even though often in 5 voices, is less dense and rigorous than that of #5. This is a demanding study in voicing, but you can also tak...

The speed, the dotting, the descending LH octaves, the dense texture of staccato 16th’s, the triumphant harmonies--all that makes #10 a powerful piece of mus...

The basic compositional principle of #11 is a contrast of textures: thick chords on each beat, contrasting with syncopated melodic material in continuous eig...

Czerny spells out his polyphony with rigor here: the ties, rests and note-stems make the 4 voices clear to the eye, and the fingering makes it (hopefully) cl...

I think of this study, and its companion variation in triplets, #14, as one of Op 335’s “abstractions.” In an unchanging rhythm and barely changing texture C...

As I’ve explained in my commentary to #13, I think of this study as a kind of “abstraction” in which the “feel” of playing it (the handshapes and the exertio...

In a collection full of interesting “character pieces” #15 stands out for its drama. Czerny marks it “molto allegro,” and the repeated chords are, alternatel...

This study actually “looks” like grands battements music, with it’s powerful two-handed chords in octave leaps. There are many ways a teacher might design a ...

For me the great appeal of this tuneful study has nothing to do with its possible usefulness in ballet class. I like it because it’s very useful to practice....

If you want to use this long and difficult study for ballet class you can take several shortcuts, among which is using only Czerny’s RH material and reducing...