Czerny Op 299 #7, 3 Versions
Updated: Feb 16
In a collection with few easy LH studies #7 is an inviting candidate for your repertory. Czerny’s four basic 16th-note patterns (the initial drumming figure, the triad figure, the triad + turn figure, and the alberti figure) are easy to master and not only strengthen your left hand but are also fundamental in training the handshape (“griffe”) and the neural map of the keyboard that over the years becomes fine-tuned to the point that your LH infallibly lands in the key and inversion you want without your having to look.
With practice I find Czerny’s tempo within reach, but #7 can be very serviceable in class at a much slower tempo. My 3 versions are all much slower than Czerny, the quarter @160.
The structure of #7 is very regular apart from the enjambment of episodes between mm 27-8 and the extension of the coda, so the piece can easily be expanded by repeating episodes and reordering them. By the same token, the regularities of #7 allow it to be abbreviated many ways so that you can quickly get something into your repertory.
1st Version: light, bright 4/4 with continuous 4-note patterns in the LH, 8 sets of 8-count phrases.
This is a performance of my shortcut arrangement. It uses only about half of Czerny’s material. I provide a score.
2nd Version: light, bright 4/4 with continuous 4-note 16th patterns in the LH, 16 sets of 8-count phrases.
This arrangement uses all of Czerny’s material. I’ve structured it in ABAC form to make it completely squared off. I supply a score. A small point: I fill out the LH in Czerny’s mm 30-31 to make sure that the beat remains very clear. This undercuts the dramatic effect of what Czerny wrote—the RH swirling down for a measure-and-a-half, and the LH going silent—but it’s a sacrifice you should be prepared to make for the sake of supporting the dancers with a steady, clear beat.
3rd Version: light, bright 4/4 in 2-part imitative counterpoint, 16 sets of 8-count phrases.
I made this arrangement using DAW software which allowed me to artificially introduce into Czerny’s melodic material imitative counterpoint, and to redistribute the voices across the keyboard while making Czerny’s LH 16th note patterns a murmuring accompaniment.