Czerny Op 740 #11, 3 Versions
Updated: Mar 3
The downside to #11 is the triteness of the music, but it recommends itself as a piece that can be projected with light, muscular rhythm that is excellent support for simple pique and jete exercises. Also, Czerny’s RH can easily be adapted for the LH, and then #11 becomes a useful in-class technical exercise for the accompanist.
Op 740 #11, 1st Version: Piques, 8 sets of 8
This is my performance of the ready-made one-pager of #11 (mm 1-16), but with the hands trading off. It’s a very short piece but bears repeating if you project its strong personality, and especially if you can vary the trading-off in the repeats, moving rapidly from high to low and low to high registers. I supply a score of the basic material. It will be noticed that I notate Czerny’s LH in simple quarters. Generally my scores are templates which refer not only to Czerny’s original for dynamics and expression but to my own performances and, above all, the performance ideas of anyone who makes use of this library.
A pairing and combining of #11 and #12 works well since, like #7 and #8, they have not only the feature of handedness (one for RH, one for LH), but also share the same note values, rhythm, tempo, meter (when re-notated) and key (major and relative minor). They have contrasting characters which, when combined, give the music a sense of “event” and “narrative.” And they both work well taken at a leisurely tick-tock tempo.
Op 740 #11, 2nd Version (with #12): 2/4 “calm” alternating with “anxious,” 16 sets of 8
This is my performance of my one-page arrangements of #11 and #12 combined. I provide a basic score of the two studies presented back to back, each with a modulation at the end that permits it to enter the harmony of the other. Each study is four 8’s long (two counts per measure) and subdivides into two phrases of 8 counts. You can combine the studies a number of ways to get longer pieces that remain square. And, as with #8, I think Czerny’s melodic material in #12 can be presented very effectively in single pitches rather than chords.
Having rebarred #11 in 2/4 to match #12, and renotated #12’s 32nd’s as 16ths to match #11, a simple formula for converting my arrangement into triple time is to add four more 16th’s to each “working” hand note pattern, extending the 2/4 measure to 3/4. The arrangement is now 1/3 longer, and the question then becomes what kind of 3/4 piece do you want it to be.
Op 740 #11, 3rd Version (with #12): moderate tempo Balances, 16 sets of 8
This is my performance of my 2nd Version recast as a waltz at a typical tempo for balance’s across the floor. The alternating character invites different expressiveness from the different groups. I provide a score.