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0 m m” , CA R L , I 3 3333 0 1 533 4960SE L EC TE D C Z ERNY ST UD I ESVOL . 3 3 . 9 5 'P L
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MNE R 8 9 1 2 5 1 4 1 4
Dw f' a 95 73 3
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Boo Th 98
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Co pyr ig h t 1 906 by T h e o d o re Pr e s s e r Co mp a n y
SELECT ED
CZERNY ST UDIES 6 5 5 “a“
Edite d by Em i l L ie b l i n g
B OOK III
A l l e gro r is o lu to M. M . J3
i 1
Cz . B k . III
Al l e g ro V iv a c e
Cz .Bk .III
7
P ro du c e th e v e ry fi rm e s t s t r ok e , wh i l e pr e s erv ing a
p er fe c t wr i s t s t a c c at o fo r th e s h o r t e r c h o rd s . T h efor ear m m ay b e b ro ugh t i n t o p l ay fo r al l c h o r d swh i ch e x t e n d t o the o c t av e . A l l mar k s o f fo r c e a n dsh a d i ng t o b e s tr i c t l y fo l l owe d . Avo i d th e u sual d i sp o s i t i o n t o r o l l t h e c h o r d s , a n d s t r i k e b o t h h a n d s ex
a ctly t o ge th e r . As a p r e l i m i n ary e x e r c i s e , a l t e r na t e
th e ch o rds a s fo l l ows
M o lto a ll e g r o M . M .L 120
4 5
Cz .Bk .III
8
P l ay a l l o c t aves e xa c t ly ac co rd i ng to phras i ng,e ithe r Ob s e r v e fi nge r i ng c a r e fu l l y . N o t e d i ffe ren t val ues i n
s t ac c a t o , s em i - s tacc ato , l ega t o o r s lur re d , th e l a t t e r B as s c h o r d s . E l as t i c wr i s t ac t i on i s t o b e cu l t i v at e d .
s l igh t l y s l u r r e d . T humb s n e ar th e b l a c k k ey s .
Al l e g r o m o d e r a to M . M . J ' 1 1 6
Cz .Bk .III
1 0
Th i s e spec i a l ly us efu l five finger s t udy ca n b e u t i liz e d i n many wa ys . F i rmness of to uch ‘
a n d au t oma t i c e
va nness of finge r s t rok e wi l l b e deve l oped by s l ow , f i rml e gato p rac t i c e ; ve l oc i ty ca n b e ai ded by l igh t l ega t ofi nger work , a nd th e mater ia l can a l so b e ad a p ted to t h es tac ca t o t ouch . I w ou l d sugge s t a comb i n a t i o n o f t h e
t hree obj ec t s by u s ing the fi rs t mod e to the e nd o fm easure 32 ; then co nt i n u e a fas t e r l ega to w ith c o rre s
po n d in g ly l ess er fo rc e t o th e end of the 6o t h b a r , a n d
play the r ema inde r w i th the wr i s t s t a cca to . By thus conn e ctin g d efi n i t e obj ec t s w i th cer tain l ines of muscu lar a ct iv ity tangib l e r esul t s can b e ob ta in e d .
The l a s t groups of m easures 1 8 , 20 , 22,24 ,a l s o 34, 36,
38 and 40 a l t h ough s eem ing l y e a sy , a r e no t so , a n d w i l ln e ed attent i o n ; th e ob serv a n ce of j u st such d e t a i l s in
s ure s ar t i s t i c f i n i sh ; a s im i l ar d i ffi cu l ty i s pres en t ed i nth e d eve l opmen t of the fin al e in B e ethoven’s So n a ta ,opu s
Al l e g ro mo l t o M.M . J 80 - 1 44
Cz .Bk .III
1 0,No .2,in Fmajo r. T h e e igh t h not es i n m e a sures 35 . 37and
39 are p l ayed s t a cca t o , a n d thos e i n m e asu re s 53 -56 fromthe wr i st
.O b s e rv e the s l ur r ed gro u ps of l ega to q ua r t e r
no t e s i n m easu r e s 54 and 56 . The s tac cat o wi l l a l so b ei n ord e r i n th e b a s s of m easu r es an d 24,sp ec ia lly
d i ffi c u l t i s the l ast group i n th e bass o f the 28 thbar
,a l so the fi r s t ha l f of m ea sure s 57-6 0 ,
and the l a s tha l f o f b ars 45 and 46 ; the op en ing bas s n o t e in mea sure s66 -68 i s t o b e sus t a i ned .
Acc en t the s e cond ha l f of b ar 77 , a n d fo l l ow wi th as t rong ac c e n t a t th e b e g in n in g , a n d a s ec ond a ry acc e ntat t h e m i d d l e o f the fo l l ow i ng m ea-s u r e s , s o as to pr es e rv e th e r h y th m ; t h e c on c l ud ing ch o rd s ar e t o b es t ru c k t og et h e r p r e c i s e ly an d t h e l a s t measure shou l db e ext end ed ab out ha l f i t s va l u e .
Cz . Bk . I I I
1 4 0 3
M any hand s a r e l im i t ed i n s t ret ch e i the r fo r w a n t o fs u ppl en es s o r from phys i ca l rest r i c t i ons in s h a pe o f hando r finge r l ength . The p rob l em of co rrect ing these shor tc om ings i s one o f impo rtance and its s o lut i o n re qu i r e s
j u d gm e n t , t a ct and p a t ie n ce , fo r m a ny hands hav e been ruin e d by i l l adv i s ed e xce s s of e x e rcis e s ,
w h ich o v e r t a xe dthe m u sc l e s and r esu l t ed in d i sas t er .
By the u se o f g radua l e x t e n s io n s , h a n d s c a n i n c r e a s et h e i r gra sp t o a c o ns i d e rab l e ex te nt , an d t h e p re s en t
A l l e g r e t t o M . M . J ' 72
Cz .Bk . III
s tudy wi l l p rove a d i s t in c t a i d in ac comp l i sh ing the o h
j e ct ; i t a l s o s e rv es adm i rab ly fo r th e d eve l opm ent of th e4t h and 5 t h fi nger s . Th e ques t i on of fat igu e e n t e rs la rgely i n i t s a ccomp lis h m e n t
,a n d occas i ona l ln t e rm iss io n s a re
adv isab l e . I n m easure 9 and s im i l ar po s it io n s , b o t h f i nge r i ngs s houl d b e p rac t i c e d ; the pass ing from c to a i nt h e i4 t h b ar i nv o lve s a cha n ge whi ch shou l d be n ot i c e d ,
and t h e same d i ffi c u l ty o c cu rs i n th e 27th t o 30 th measure s . T he en t i re s tudy may b e p l ayed p ia no .
1 6 0;
T h i s ad m irab l e s t udy s erves as a sp l e ndid int roduct i ont o B ach ’s Pre ludes
,esp ec ial ly the 2d on e i n C m in o ri
‘
Cla v
ich o r d B ook I. It pre sent s a very d i ff i cul t chapte r of adv a n ce d f ive -f inge rwork coup l e d w ith te nuto not es of l ongva lu e s wh i ch have t o be str ictly held and presse d dow n in spiteo f o cca s io n a l i nc o nven iences . I t i s not easy to pa s s smooth
M o de r a to M .M . J 1 1 2
Cz . Bk . IlI
ly from measur e 7 to 8 , o r t o place the thumb on F s h a rps inthe 1 1 th bar without a j e rk, a n d yet such d efect s are u sual lyp a ss ed over w ithout comm e n t . T h e hand shoul d be sl ightlyr a i s ed aft er us ing the four th fi nger i n the 1 6 th and 1 7 th
m e a s u r e s ,a n d the nonlegato qu a rt e rb e a t s i n the 25 th ,2'7th
and 29 th bars must no t b e played st accato .
Cz . Bk . III
Th e i de a o f s t r i k i ng s eve ra l no t e s s i mu l t aneou s ly ,
b u t n o t h o l d i n g them th e same l e ngth of t im e i s by no
m ean s n ew . Web e r u s es it a t t h e op en ing of h i s “Co n
we f i n d i t aga i n i n Go tt s ch a lk’s“Hom e Sweet
T ro v a t o r e”a n d i n t he Coda of h is “Ma rch e d e
Nu it .
” W hen ca r efully h an d l e d th e e ffe ct i s qu i t e o r
A n da n t e M .M . J = 69La m e lo d z
'
a 66 72 m a rca to e te n u to
Cz . Ek . III
1 9
ch e s t ra l a nd imp re s s ive . Tak e ca re t o p lay t h e four notesprec i s e ly toge the r and ho ld t he o c taves f irm ]y,w h ile t he
f i nger s l eav e the i n te rven ing k eys . O bs erv e the mark s ofe xpr e s s i on c l o s e ly and rea l iz e t he sombre and m a rch lflre
s ign i f i can c e o f t h i s ex erc is e . The b a s s th roughou t staecato .
2 0
T he pre s en t O c tave study i s to b e cu l t ivated th r ough arm . Benefi t wi l l al so be de rived from the fo llow in g v e r s io n .
out w ith a l ight wr is t s t ac ca t o . A mod e ra t e t empo a tfi rs t wh i c h can be qu ick ened gr adua l l y t o g r e a t e rsp eed
,always guard i ng mos t z ea l ous ly aga in s t a ny
st iffne ss,r igi d i ty o r mu s cu l ar cont rac t i on of t h e fo r e U s e the 4 th fi ng er on the b lack ke y s , if co nv en i en t .
Cz . Ek .III
22
T he pr es ent e x e rc i s e dea l s e x c l u s i v e l y wi t h a
smooth l ega t o a rp egg i o . I n s l ow temp o th e t u r n ing ofwr i st and a rm i s perm i ss i b l e and a d v is a b l e , s o as to ins ur e th e p e r fec t p a ssage o f the t humb ; th i s wi l l fac i l itat e t he c l eve r and qu i c k sub s t i t u t i on and change o f pos itio n wh ich i s u s e d ,w h e n ac c e l e rat ing th e t ime .
The ac companying chords mus t b e b rok en ve ry qu i c k ly ,
and i n s uc h a m anner as t o b r i ng th e l as t n o t e o f the a ocomp a n im e n t with th e fi rst no te o f the oth e r pa r t, a n d notth e first .
Al l e g ro V iva ce 72 1 20
Cz .B k . IIT
Vo n Bu el ow adv i s es t o th e c ontrary in h i s ed i t i on of theCram er Et u d e s , b u t on ly s uc c e ed s i n p ro d uc ing an n u
mus i ca l e ffec t , b e s i des caus i n g a need l ess i n c reas e o f d ifficu l ty .
B egi n th e s t udy thus' and p l ay the remain
der a cco rd in g ly .Wh e r e the accompanim ent i s i n qua r t e rand ha lf no t es ob s erve the i r ful l va l u e .
Measur es 6 5 an d 66 are espec ia l ly d i ffi cu l t .
26
Avo i d al l c o nt rac t i on o f wr i st o r ar m . I t i s not alway s m easure s 21 an d 22 t h e c o n t i n u ed 5 t h fi nger i s p ref e as ib l e t o u s e t h e 4th f i nger on th e b l ac k k ey s ; i n fe r a b l e .
M o lto a ll e g r o M . M . J= 1 26
Cz .Bk .III
2 8
T h e p re se nt s tudy i s of unu sual s cop e an d i nc l ud e smany imp or t an t v ar i et i e s of p i ano t e chn i qu e ' s ca l e s
,
fiv e fi nge r work and b rok e n ch ords . Th e “j e u [l e l
‘ l é”
wh i ch d i s t i ngu i s he s th e adm i r ab l e wor k o f l e a d i n gfr en ch p i an i s t s c an h e r e b e c u l t i v a t ed and as s i d u ousp r ac t i c e w i l l d ev e l op th at l ig h t an d ev en ve l oc i ty ,
fu l lo f s c i n t i l l a t i ng b r i l l i an cy a n d e ff e ct , w h ich d e l ightsa ud i e nc e s ; t h e t emp o s h o u l d of co u r s e b e of gra d ua li ncr eas e u n t i l r ap i d ex ec u t i on i s s e cured .
M o lto V iva ce M . M . J“= l oo - 1 38
Cz . Bk . lll
Obs erv e the fi nger i ng of the b as s c arefu l ly ; wheneve rwe can us e o n e h and pos i t i on fo r tw o s ucces s ive chord si t i s advantageou s t o do s o
,as i n pass i n g from the l s t
to th e 2d m eas u r e , e t c . B eg i nn ing wi th th e 27th barth e l e ft h and re qu i r es spe c i a l a tt e n t io n , e x t e n d in g t om eas ur e 3 3 . I n m easur e s 43 - 46 th e 3 d fi nger o f t h er igh t h an d wi l l hav e t o b e p r omp t ly w i th d r aw n in o r
der to adm i t th e thumb to the s am e k ey . Po s i t i on o fhand p er fe c t ly q u i e t t hr ougho u t .
T he p res e nt study i s of esp e c ia l s ign i f icance as it a ffo rd s a p rac t i c a l r ea l i zat ion o f a p r ob l em ,
wh ich is of ihfr e qu en t oc currence . A l l f iv e f ingers of each ha n d a r eu t i l ized i n a l ight c ont inu ou s a rp egg io ; th is invo lv e s al igh t gl id i ng m ot ion t oward th e l i t t l e f inger of the r ight
,
a nd the thumb of t he l e f t hand . For p re l im in a ry pr a c
t i ce u se th e fo l l ow ing vers ion,and a f ter i t i s ma stered
a c c e lerat e the t i m e of t h e 32 d t o c o r responding gra c enot es .
A n d a n te m o de r a to M . M . J 50
Oz . Bk . III
3 1
The hand shou l d b e t u r ned s l ight ly i n t h e d i re c t i on ofth e h ighes t no t e of ea c h group . S lu r t h e e ig h th not ess t a c cat o , b u t giv e the ha l f not e s the i r fu ll val u e . E xecut e t he c o nc l u d i ng t h r e e chords su c c es s ive ly from th el owes t no t e upwa rd an d c oun t the 4t h
,8t h
,1 0 th , a n d 12th
b a rs i n co r r ec t t im e . S l ow t emp o wi l l b e suf f ic i en t a smany o f the p os i t i ons ar e s om ewhat awk ward t o s t retcha nd e xe c ut e . U s e t he Pe d a l a s i nd i c at ed .
32
T h i s d i ffi cu l t etude fo r t h e left hand re qu i re s e nergya nd fo rc e . It cons i st s of many var ie t ie s o f p ia n is t ic e xe cu
t ion and demands a great d e a l o f stu dy . C hord w ork fo rmsno i nco ns ide rab le par t of the compo s it ion an d n eeds sp ec ia l at t e nt io n . A ll f ive f ingers fi nd co ns tant employmen t
M o d e ra to M . M . J”' 108
and the i r weaknes s es are readi ly exp os ed . S low and f i rml egat o pra ctic e must form the b a s is
,a n d veloc ity ca n devel
op l at er . The des cending A m in o r S ca l e b eginn i ng in t he28 t h mea s ure i s not finge red a cco rd ing t o usual rule , butthe change i s here adv isab le .
Th i s m e lo d ious s tudy i s i n t en ded to fa c ilita t e a smoothexecut ion of pa s s ages wh ich ar e executed by b o th hand scons ecut ive ly . B a ch ’s C h romat i c Fantas ie abounds in th i ss ort of work ; Mendels sohn ’s fi n e Pre lude opus 35 , No .1 i sdevelope d on th e s ame l i nes and many mo der n compos ers ,R aff
,L ack and others ) have made ext ens ive us e of this
sp ec i f ic p iano ef fec t . C lear ne s s a nd eve n n e s s in brok enchords are a ls o requ is ites of th e e xerc i s e . It i s i nt erest ingt o no t e th e ea se w i th wh ich Czc r n y c ommands musical form ;after the first and p r inc ipa l them e a s econdary m elody i spres ented
,c omm enc ing with measure 24 . The 42 n d b a r
b r ings the retu r n o f the f irs t th e m e,a n d a Co da ( 57th ba r )
f in ishes the ent ir e comp o s it ion wh i ch p o s s e s s es cons iderab l e melod i c ch a rm ,
a n d depends for i t s prop er e ffec t upon
A l l e gre tto M .M . J5= 1 26
Cz . Bk . II I
3 5
l ight cont i nuous f inger act iv ity in extended pos it ions . Eachhand must enter and f in i sh p rec is ely at it s a llo tte d t ime andI would recommend the fo l l owing prelim inary exerc i se
The phras ing o f the second ep isode in E flat (mea su re 24i s to b e car efu l ly fo l l owed and the alternat e detached st accat o no tes mus t be executed w ith elast ic ity . The change from thedom inant 7th chord a rpeggio into the s ca le ( me a s u r e 40 ) is notea sy .Obs e rve the thumb accents comm e n cin g w ith measure 50 ,
and play the entire Coda p iano and graceful ly .
3 8
Cz .Bk . II I
“a
Cz . Bk . II I
39
4 0
Co ns id e ra b l e e l em e n t a ry w r i s t wo rk s ho u ld p re ced et h e p r e s en t s t udy i n o c t av e s
,wh i c h i s i n t e n d e d for t h e
ac q u i s i t io n of a l igh t an d ra p i d o c tav e te ch n iq u e . Ke e p
t h e ha n d we l l up ove r t h e k ey b oa r d ; t h e p r o p e r p os i t io n fo r t h e t humb o n t h e w h i t e k ey s i s In c l o s e
pr o x im i t y t o t h e b l a c k k ey s ; t h e n t u r n t h e h a n dve r y s l igh t l y t o wa r d s t h e d i r e c t i o n i n w h i c h t h eh and is go i ng ; t h e f i n ge r s re m a i n p a s s i v e a n d a l la c t i v i t y i s co n c e n t ra t e d i n t h e w r i s t , wh i l e t rea t i n gt h e h a nd i t s e l f a s a u n i t . The i n i t i a l movement b e f o re
A l l e gr o V i v o . M .M . J = 1 04
Cz . Bk . I I I
a t t ac k i ng o c t av e s i s a l t/ra y s u p w a r d s,s o a s t o i n s u r e
a do wnwa r d s t r o k e fo r t h e p rope r p r o du c t i on of o c t avet e c h n i q ue . T h e p ro b l em s of fa tig u e , sp e e d , f o r c e a n d
e ndu ranc e m u s t b e i n t e l l ige n t l y a n d s e p ara t e ly t r e a te d
,a n d e v e r y e x t r e m e a n d o v e r e x e r t io n is to be avo i d
e d a s it i n v o l v e s co n s i d e r a b l e r i s k . T h e four th f i n ge ro n t he b la c k k eys i s p r e fe ra b l e . b u t t o s o m e e x t e n topt io n a l , w h e n e v e r l i m i t a t i o n s o f t h e h a n d f o r b i di t s ge ne ra l u s e ; a t t e n t i v e o b s e rvanc e o f t h e r e s t sw i l l fa c i l i t a t e t h e r e n d i t i o n o f t h i s s t u d y .
Cz. Bk.. I I I
4 1
4 2
D ou b l e th i rds requ i re spe c i a l p re par a to ry s t u d y , a n d
I wo u l d r e c ommend t he o rd i na r y fo rms o f e l eme n t a ryan d s imp le e x er c i s e s as we l l a s t h e maj o r a nd m i n o rs c a l e s as i n t ro duc to ry t o th e p r e s e n t e xe rc is e ; it wi l lb e s uff i c i e n t t o cu l t i v a t e th e h a rmo n i c m i nor s c a l e si n t h i rd s—th e m e l o d i c fo rm may b e om i t t e d . T h ec h rom a t i c s ca l e s ho u l d b e p r ac t ic e d in m in o r a n d ma j ort h i rds and i t goe s w i t ho u t s ay i ng that b o t h ha nd s r e
qu i r e e qua l d e ve lopm e n t . I n th e asc end i ng s ca le s for
Cz . Bk . III
t h e r igh t h a n d,a n d v i c e v e r s a
,t h e d e s c end ing s c a l e f or
t h e l e ft , t h e m i d d l e f i nge r m u s t b e t r a i n e d t o p a s so v e r t h e l i t t l e f i n ge r w i t ho u t a p e rc e pt ib l e b r e a k
,a n d
i t is corresp ond i ng ly e as i e r to r ev e r s e th e movemen t a n dp a s s t h e f i nge rs ove r t h e t humb s in the oppos ite d i rec t ion .
The two comp o nen t k eys m u s t b e s t r u c k pr e c i s e l y t o
g e th e r , a n d t h e m as t e ry o f th e s t u dy w i l l ma r k a n
p or t an t de v e l opm e n t i n t h e t e c h n i c a l wor k o f t h e s tud e n t . O b s e r v e a s t r i c t l e ga t o t h r o ugh o u t .
4 4
The pre s ent s tudy com b ines sca le s and arp egg io s . Avar ie ty of s tudy is adv i s ab le . P rac t ice s low ly , l e g a t o , a n d
f irm ly to the rep eat ; fo l low th is with l ight and fas t v e loc i tywo rk to the end of the 6 is t ba r, a n d play the rema i nde r wi t hwr is t s ta cca to ; t h is mode of p rac t i c e e l i m i n a t e s monotony,and e ncourages ment a l act i v i ty . The many contrac t io ns andexpans ions of the r ight h a nd hav e to b e c arefu l ly n o t e d a nd
Cz . B k . I I I
smoothly accomp l i s hed . Som e of them are fo u n d in the trebleo f t he 55 t h , 57t h ,
70 th a n d 7i s t bar s . I n measu re 4 r e a df i rs t bas s no te co rrec t ly -F sharp i t i s u s u a l ly m i st a k e n fo r D . P h r a s e a n d f inge r t he b a s e a s ind i c a t e d ;i n me as u res an d 2 1 , 5 p r e a d t he thumb ov e r twoadj o i n ing b as s no t e s an d s ub s t i t u t e t h e l i t t le f i n g e rfo r t h e t h u m b q u i c k l y i n t h e 24th and 28th b a r s .
4 6
Cz . Ek . i l i
4 7
Cz . Ek . il i
4 8
Th i s s ca l e s t u d y ,w h ic h pr e s e n ts ma n y combin a t io n s ,c a n
b e pr ac t i s e d in s epa r a t e h a n d s ,a ls o i n g r o up s o f 2
,4
a n d 8 m ea s u r e s . A va r i e ty o f Tem p i a n d d i f f e r e n tto u ch e s c a n b e re commende d . G r e a t c a r e s h o u l d b ee x e r c i s e d t o p l ay t h e who l e s t u d y w i th ou t s tum b le o r
A l l e gro m o l t o M . M .J = 6 0 1 20
3 4 5 4
s t o p p i n g a n d b o t h v o i c e s m u s t b e k e p t e x a c t l yt oge t h e r . L i f t t h e f i n g e r s o f t h e r i g h t h a n dp r o m p t l y i n t h e a s c e n d i ng s c a l e ,m e a s u r e s 57 a n d
5 8, s o a s t o p e r m i t t h e l e f t h a n d t o d o i t s w o r k
p r o p e r ly .
Cz . B k . I I I
2 3 2 1 2
4 9
By some s ingu lar mistake Czerny ’s work s ha ve long be en vir il i ty which dist ingu ishes many of h is greater ma sterworks .
as soc iated with e lementa ry work only . Not h in g cou ld b e mo re The p resent s tudy tra ins the hands to expand a n d co ntra ctab surd
,fo r i n many studie s the compos er deal s w ith pr ob in rap id success ion and invo lve s the a c curate hand l in g of
lems of most ad vanced and comp l icated re qu ir e me n ts in t rue many diffe rent a n d di ff icult chord pos it ions ; i t requ i r es u n
v irtuoso style .The same e rror is made regarding Chop in f lagg ing st reng th a n d br i ll iancy from begin n ing to end .
who shou ld b e duly credited w ith the grandeur and co l os sa l U s e the Peda l with each chang e of harmony .
M o lto a l l e gro M .M . J 80 - 1 26
P e rl . s t’
mz'
le
Cz . Bk . III
54
P r e s t o M . M . J . 120
Cz . Bk . III
Cz . Bk . III
5 6
Th i s s t udy ma k e s gr e a t demands on the ex ecut i on andendu ra n c e o f th e l e f t ha nd and a ls o i n t ro duce s valuablec h o r d w o r k fo r t he r igh t ha nd . I t c an be a d v a n t a
g e o u s ly d i v i d e d fo r p ra c t i c e p u rpo s e s , a cco r d i n g t o i t snume r ica l fo rm as fo l l ows ' I,m e a s u r e s 1 - 1 6 ; II,me a s u r e s
17- 39 ; III , m e a s u r e s 40 -60 . A re s t w i l l b e fou nd a dv i s eb l e a ft e r ea c h p e r i o d o f pr a c t ic e , a s a l l e xces s o f force
A l l e g ro m o l to . M . M . J = 80 1 26
Cz . Bk . III
o r t emp o mus t b e ca r e fu l ly avo i de d . The best resul t s c a non ly b e ga in e d by a gr ad ua l i n c r e a s e o f s p e e d a n ds t r e n gt h b egi nn i ng a lway s w i t h mode r a t i o n . A v e rysupp l e wr i s t i s n e c e ss a ry a nd th e c o ns tan t exp a n s ionsa nd co n t rac t i o ns o f t h e hand m us t b e managed smoothly.
Th e l i t t l e f i nge r i s ap t t o s t r i k e w i t h o u t c l e a r n e ssan d f o r c e , a n d w i l l n e e d e sp e c i a l a t t en t i o n .
6 0
T h is impo rta nt l e ft hand s tudy i nt rod u ce s many tech
u ics l va r iet ies ' sca les,a rpeggios
,brok en oct ave s and ex
t ended pos i t ions,a nd i s a f i ne p reparatory e xerc i s e fo r
work s o f la rge r impor t l i k e Ch op i n’
s
I n the scale pass ages the d i f f i cu l ty o f p a s s in g th e thumbsmoo th ly ha s t o b e ove rcome ; t he a rpegg io s r e q u i r es im i la r car e , a nd the oct ave work mus t never b e perm itt ed to s t i ffen t h e wr is t or a rm musc les . Moderat e tempo
A l l e gr o p i a c e vo le M . M . J 48 -72
s e mp r e l e g a t o
Cz . Bk . III
w i l l b e obs erve d fo r an e x t ende d p e r io d before attempt
i ng the A l l egro t ime and l ight v e loc ity s hou l d b e the a imo f t he s tudent i n ex e cu t i ng thi s E tude.I n t h i s connecti on I w o u ld re c omm end for Spe c i f i c l e f t ha nd work t h e
s a me m a s t e r’
s“Sc h o o l fo r the L eft Ha n d ” a n d Kro e g e r
’
s
F if t e e n E t u de s fo r t h e Le f t Han d . He n s e lt’
s E t u deOpu s 2
,N o . 1
,i n D m inor exp lo i t s the l e f t h a nd in a n ln
t e re s t in g way i n ex t ended p os i t i on s .
6 2
Cz . Bk . III
A l ight wr i s t s ta cc at o s h ou l d b e cu l t ivat e d and deve lOp e d th roughout t h i s ent i r e s tudy ,
wh ich fo rm s an exce ll ent p r epar at i on for S ch a rwen k a ’s and R u b in s t e in ’
s“Sta c
ca t o G o d a r d’s“E n R out e .
”llle n d e ls s o h n
’
s“Sch e rzo
opus 1 6 , No .2,an d a l l s e l ect i o ns requ ir i ng supp l e n es s of
A l l e g ro M .M . J 1 26
C2 . Bk . I I I
6 3
the wr is t . Advan ced s t udent s may a l s o c onsu lt Sch lo ez e r
’
s E tu de,opu s 1 ,N0 . 1
,and Sch y tt e
’
s S tacc a t o E tu d e ,
opus 57 . B egin w i t h a moderat e t emp o and advance gra d
u a lly to gr eate r sp ee d . S t r ict obs ervance o f the f i nge ring i n measure 1 8 wil l i n su re c l e ar e xecu t io n .
6 4
Cz . Bk . II I
2 4 52 4 4
Cz . Bk . III
6 5
6 6
T h e e xp l a n a t i o n s t o form er w r i s t stud i e s apply t o p e rfec t ly conven ient w i thout u ndue s t r e tch in g o t h e rw is e
th i s i mpo r t ant o c t ave ex e rc i s e,i n wh i ch a l i ght a n d the 5 t h . Prac t i ce a l so i n b rok e n oc tave s
f l ex i b l e wr is t m ot ion i s m o s t e s s ent ia l,a s i t i s i n tend
e d to b e s t a c ca t o t h ough ou t,i n c lud i ng t he acc ompany
i ng c hord s . Us e t he 4 t h f i nge r o n b la c k k eys on ly,i f
P re s to m o l to V iva ce
Cz . B k . III
Cz. B k . II I
6 7
6 8
Th is E t u de t hough devo ted t o l ight o c t a v e t e c h n ic exc e e d s the l im it a t ions of a m er e s t udy and expands in toa v e ry mus ica l c omp o s i t i o n
,wh ic h m ight b e t e rm e d a n
Imp romp tu . The s hor t detached o c taves a r e pla ye d w it han upward m ovemen t
,fo l l owed by a downward s tr oke fo r
t he fo l low ing l ong b e a ts . Ve ry o f t en the us e of the 4 t h
f i nger is adv isab l e o n th e b la c k k eys ' th e thumb p os it i on a lways adj o i n i ng the edge o f th e b la ck k eys a n dn ot n ear th e e dge of t h e wh i t e k eys . Th is r u l e does away w it h a gr eat d ea l o f u n n ec e s s ary mo t ion whi ch in
A l l e gro s c h e rz a n do M .M . J z 1 16
t e rfe r e s w i th c l e ar and ef fec t ive o c t ave wor k . F i nge rt he bas s a s ind i c a t e d ' t he l i t t l e f i nge r for s ingle bassnot e s
,and t he fo l l ow ing chord s usua l ly with the o t he r
f i ngers of t he l e f t hand . This w i l l app ly t o th e finger ingo f a l l s im i la r p os it ions . The Peda l may b e use d th roughout t he st udy wi t h ea c h harmon i c change . Treat the s eco nd t hem e
,b egi n n ing with t he 33 d meas ur e m or e d e
l ib e r a t e ly an d b r ing out the m e l o dy not es w i t h g en t l ep r e s s ur e . The e n t i r e C oda from the 1 1 9 th measu re fast er ; t h e l a s t 1 6 b a rs ve ry d e l icat e ly .
72
Th i s s t udy is very valuable for the a cq u s itio n of a f i rm e ighth note s in the B ass as aga ins t the qu ar ter b eat s andtouch . The do ub l e th ir ds a n d al l s im i l iar in te rvals mus t be p lay the latter le g a /o . Th e arp egg io s i n the b a s s
,m e a s u r e s
s truck p rec i sely t ogether, in order to confo rm with the obj e c t 37, 3 8, 43 et c . are to b e executed swi ftly and l ight ly .
o f th i s exerc is e . The B rok en O c t ave s in the tr eb le commencing with measu r e 39 r equ i re grea t fa cility ; t a ke care t o p lay th e s e c o nd
Avo id th i s e ffec t not e o f each group with the cor resp ond ing ch o r d ; th e Cod ao f the two th i rty-seconds throug hout gently . A rm and wr i s t c ommenc ing at the 6 5 th b ar can h e exe cu t ed g r a z z
’
o s o , butmus t r emain qu ite supple a n d re la xe d .Un ifo rm finger ing i s th e s tu dy ends fo r t e and wi th dec is ion .
de s irab l e , s t i l l the re are o ccas io nal e xce p tio n s , a s in barse tc . The B ass should be s tud ied separately and th e f ingeringof the cho rds c losely obse rved . Note the d ifference between th e
A l le gre tt o M .M . J 84
Cz . Bk . I I I
74
Cz . Bk . III
Cz . Bk . III
75
76
T h e p rob lem o f endurance in co nti nuou s wr i st work i s paramoun t in th i s impo r tan t s tu d y . A s ce r t a in th e degree o ffo rce and sp ee d wh ich i s w i th i n you r p re s ent g ra sp andmak e tha t th e sta r t ing p o int i nc reas ing b o th gradual ly u n
t i l the e nt i re s t udy can b e p erfo rmed w ithou t s e r i ou s inconven ience w i th b r illia n cy .A ll s i x te e n th n o te s are to b eexecuted w i th a p erfec t f i nger o r wr is t movement r e sp e ctr
Al l e g ro m a e s t o s o ,m a co n fu o co .M .M
Cz . Bk . HI
iv e ly , a n d the octaves o n b l a ck keys mus t be f i n gered a cco rd ing to d ir e ct io n s . 0 b s e rv e t h e dy n am ic s a tt e n tiv e ly a lso s l u r s and s t a c cat o mark s A ll ch o r ds a re t o be h e l ddown du ring the i r v a l u e ; t h e whol e e x e rm mu s t b e pe r'
fo rm ed w i th en e rgy, b u t eve ry ex t rem e o f v el o c i ty ors t r ength i s t o b e avo ide d unt i l th e execu tant i s ready fo ri t . The s k ip s in t h e bas s of measure s and 3 0 needspe c i a l a t t ent i o n .
1 04
80
P R E LU D E
C ze rny e x h ib i t s h i s a s to u nd i ng v e r s at i l i ty f requ e n tly i n h i s co l l e c t i o ns o f s t u d i e s . T h e sp l e n d id id fugue i nh i s s c hoo l for th e L eft Hand t e s t ifi e s t o h i s vast l e a r nin g an d co n t r ap un t a l m a s t e ry , a n d t he p r e s en t P r el u d e wh i c h b ear s the imp r i n t o f o rgan m u s i c , s h o w sthe m as t e r i n a s om b er an d d i gn i fi e d m o o d . T h e p e da l c an n o t b e u s e d i n th i s s t u dy , a n d th e f i nge r s w i l l
In measure 3 measu r e 1 1
Al l e g ro s e r i o s o M .M . J 1 08
s e mp r e l e g a to
Cz . Bk . I I I
h av e t o b e t r ai n e d s o a s t o r e a l i ze th e stri ct e s t l ega t o,
i n fac t t hey s h o u l d r em a i n on th e k ey s c ons t an t l yM any p os i t i o n s ar e s e em i ng l y a w k w a .r d ,b u t c o r r e c tf i nge r i ng w i l l e nab l e th e s tuden t t o h o l d a l l l o n ge rand t i ed no t es th e i r fu l l v a l u e .
E x ecu t e th e tr i l l s a s fo l l ow s
2 1 2 1 2 3 2
measu re
82
M a r ch e F u n e br e
Th i s impr e s s ive Fu nera l M a r ch m ay have i nsp ir ed th efo rm of C hop in’s famous s t ra in . It opens and c los es w ith as omb e r a n d p ompou s movement
,re l ieved by a cont ras t
i n g me lo d ious m i dd l e por t ion . Not ic e t he c los ing maj o rch o rd
,t h o u g h t he mar ch opens in E m inor . The st r ic t es t
t ime i s es sent ia l ; the group s o f 64 t h notes mus t e n te r pr ec is e ly aft er th e cor respond i ng res t . The int roduc t ion o fMende l ss ohn ’
s C ap r i c e Opus 83 , No .3 pre s ent s s imila r d i ff i c u l t i e s C onnec t the l a s t s ix tyfo u r th w ith th e fo l
A n d a n t e m a e s to s o M .M . J =44
Cz . Bk . III
low ing e ighth not e sm oot hly by a gl i d i ng mo t io n,a n d ob
s er v e a l l mark s of p hras ing a n d e xp re s s ion m inu t e lyThe s hor t de tache d chords a re p laye d fr om th e w r is t ,th o s eo f l onger du rat io n fr om th e fo r e a rm
,w it h dec is i o n . T h e
co r r e c t u s e of th e Peda l w i l l add mate r ia l ly t o th e e f f e c to f th i s imp r es s ive p i e c e
,and the b a s s of t he m idd le par t
o ffe rs sp ec ia l s tudy fo r the left hand . The a bbrev iat ed s ixty fo u r t h s i n m easu r es 48 50 may b e played p ianis s im oas qu i c k ly as p os s ib l e app rox imat ing a t remo lo .
84
Cz .Bk . I II
86
T h i s i s ano th e r exp lo i t a t i o n o f an u nu s ua l t e ch n i c a lcomb i na t i o n . The two l ow e s t bas s note s o f th e l o ngSp re ad s ar e u n i fo rm ly e x ec u t e d through o u t as p r es ent e d a t th e b eg i nn i ng , b efo re th e r em a i n de r o f t h echo rd i s s truc k s i m u l t an e o us l y wi th t h e t reb l e p ar t .
T he f e w s t ac c at o o c t av e p as s age s from th e w r i s t ;
M a e s t o s o M .M . J=88
Cz . Bk . llI
th e c h o rd s fi rm ly an d a s l egato a s p oss i b l e . U s e t h ep ed a l d i re c t ly af / e r eac h chord a n d no t w i th i t . By s od o i ng eac h h a rm ony w i l l b e pr e s e rv e d i n i t s p u r i t yw i tho u t i n t er fe r en ce from th e p r ec ed ing o r f o l l ow i ngcho rd .
No . 4
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