Carl Czerny (February 21, 1791 - July 15, 1857) was an Austrian. Famous composer, pianist and music educator.
Czerny studied under the famous musician and composer Beethoven. He was Beethoven's favorite student. Beethoven taught him how to play the piano for free for three years from 1801 to 1803. He actively promoted Beethoven's works and discussed how to play Beethoven's works correctly in Chapters 2 and 3 of Volume 4 of his work No. 500, "Complete Piano Theory and Performance". He could recite all of Beethoven's piano works.
As a piano educator, Czerny trained students like Franz Liszt. He taught Liszt to play the piano for free, and Liszt also said: "Everything about me was taught to me by Czerny."
As a piano educator, he wrote countless piano etudes throughout his life. A basic textbook for piano students. His status lies in building a bridge between Beethoven's era and modern piano performance.
Today, there is a "piano craze" in our country - thousands of children are learning piano, and each of them chooses Czerny's various pianos to varying degrees. Czerny's name has almost become synonymous with piano etudes and is well known to the majority of piano players and piano art lovers.
In 1791, the famous Austrian pianist, educator and composer Czerny was born into a musical family in Vienna. He was able to play the piano at the age of 3 and record his musical thoughts at the age of 7. By the time he was 10 years old, he could play all the piano works of Mozart and Clementi clearly and fluently, and he had extraordinary musical memory. In 1800, 9-year-old Czerny had his first performance as a pianist in Vienna. In 1801, Czerny, who was only 10 years old, went to see Beethoven. Beethoven was moved by Czerny's wonderful performance and gladly accepted the student. Later, Czerny played Beethoven's "C major" successively. "Concerto" and "Emperor Concerto", which made him famous.
Czerny's performance attracted great attention from critics, who considered him to be the most important pianist in Vienna after Hummel. However, due to Czerny's frail body, shyness and introversion, he was more suitable for teaching than playing. Therefore, from the age of 15, Czerny began his teaching career to which he devoted his life. As an outstanding piano teacher, he trained a large number of talented students, including Dole, Clark, Iyer, Selberg, etc., and the most famous one is the generation of piano master Liszt.
When Liszt was 9 years old, he had the honor to visit Czerny. According to Czerny's autobiography: Liszt's playing at that time was very irregular, rough and chaotic. His improvisations did not have a solid harmonic foundation and relied entirely on inspiration. However, there is a kind of innate talent hidden in his playing. It is this rare temperament that makes Czerny think this person is a talent. After Czerny's careful training and Liszt's hard work and intelligence, after several months of practice, when Liszt played the works of Hummel, Beethoven, and Bach, Czerny did not need to pay attention to his performance. Techniques, and focusing on letting him understand the writing styles of various composers, Czerny constantly browsed new works for him, giving Liszt an astonishing ability to read music. A year later, Liszt held a public performance that caused a sensation throughout Vienna. However, Czerny did not limit Liszt to rigid and mechanical technical exercises, but fully allowed him to display his talents, making him a famous piano master in history.
As an outstanding piano educator, Czerny’s achievement is not only to train a group of famous pianists, but more importantly, he has established a complete set of pianists in his long-term teaching practice. teaching system. Czerny wrote a large number of piano etudes and papers, which guided the healthy development of the art of piano performance at that time. These etudes integrate the classical Athenian style and Clementi's dynamic style. They are carefully arranged and strictly classified, from shallow to deep, to adapt to the practice of piano students at different levels.
As Beethoven’s student and Liszt’s teacher, Czerny occupies a unique position in the history of piano performance in the 19th century.
If Clementi's dynamic playing style and Liszt's playing techniques are two milestones in the history of piano performance, then Czerny was the one who paved the way and bridged these two milestones. Today, it has been 136 years since Czerny left us. Over this century, great changes have taken place in the creation and performance of piano music, but Czerny’s piano etudes still have great practical significance today. Especially for the training of basic finger skills and the performance of Viennese classical works, it is indispensable nourishment. His outstanding contributions to the art of piano performance are worthy of eternal commemoration and admiration by future generations.
His piano etudes play a certain role in training fingers and playing skills, and are widely used as piano teaching materials in many countries. Among them, "Preliminary Piano Tutorial" (Operation No. 599), "Piano Smooth Etude" (Operation No. 849), "Quick Piano Etudes" (Operation No. 299), "Technical Exercises for Finger Dexterity" (Operation No. 740, also (No. 699) and "Advanced Technical Etude" (No. 365) are often selected as the main piano teaching materials in our country. Other etudes occasionally used include works 139, 821, 636, 221, 721, 337, 261, 553, 300, 335, 355, 399, 400, 500, and 718, which is specially designed to train left-hand skills.
Czerny’s piano teaching etudes:
Opus No. 92: Toccata
Opus No. 139: 100 simple exercises
p>Opus No. 151: Big Vibration Exercises
Opus No. 161: 48 Prelude and Final Etudes
Opus No. 229: Fast for Two Pianos 40 etudes
Opus No. 239: 50 etudes for duets
Opus No. 244: Major chromatic exercises
Opus No. 245: Major three Practice of scales and double-note passages
Opus No. 261: Basic Exercises 101
Opus No. 268: Sonata Grande in Etude Form
Opus No. 277: 10 elementary exercises
Opus No. 299: 40 quick exercises
Opus No. 335: Legato and staccato exercises
Opus No. 336: 24 exercises
Work No. 337: 40 daily lessons
Work No. 355: Ornament practice
Work No. 359: The first lesson of the elementary tutorial
Opus No. 365: Advanced etudes for performers
Opus No. 380: Etudes in thirds in 24 major keys
Opus No. 388: Prepared simple etudes< /p>
Opus No. 399: 10 major etudes for improving the left hand
Opus No. 400: Exercises for Fugue
Opus No. 409: 50 characteristic etudes
Opus No. 428: 60 preliminary exercises
Opus No. 433: Etudes in the preparation process
Opus No. 453: 150 preliminary simple exercises
Opus No. 481: 50 preliminary exercises
Opus No. 495: 42 etudes for four hands
Opus No. 499: Two etudes written for young pianists
Work No. 553: 6 octave etudes
Work No. 584: Beginner Piano Tutorial
Work No. 599: 100 Practical Beginner Exercises
Opus No. 613: Collection of Etudes for Expressions
Opus No. 632: 12 etudes
Opus No. 636: Preparatory exercises for flexible fingers
Opus No. 684: 24 Exercises of Irish Songs
Opus No. 692: 24 Large-Scale Salon Etudes
Opus No. 694: Juvenile Etudes
Opus 699 No.: The Art of the Right Hand
Work No. 706: 24 New Irish Etudes
Work No. 718: 24 Simple Etudes for the Left Hand
Work No. 727: 12 etudes for two pianos
Opus No. 735: Etudes in thirds for the left hand
Opus No. 737: 40 exercises for daily practice
Opus No. 740: 50 gorgeous exercises for flexible fingers
Work No. 748: 25 exercises for small hands
Work No. 749: 25 exercises for small hands
Work 750 No.: 30 basic exercises
Opus No. 751: Scale exercises for four hands
Opus No. 753: 30 gorgeous etudes
Opus No. 755: 25 characteristic etudes
Opus No. 756: 25 major etudes
Opus No. 765: Courant etudes
Opus No. 767: 50 etudes Etudes for expressions
Opus No. 777: 24 five-finger exercises
Opus No. 779: Etudes for extreme endurance and speed
Opus No. 785: 25 exercises for five fingers Characteristic etudes
Opus 792: 35 etudes for precise piano technique
Opus 793: Large arpeggio exercises
Opus 802 No.: Practical Finger Training
Work No. 807: New Etudes
Work No. 818: 50 Finger Exercises
Work No. 819: Melody and Rhythm Exercises Collection of Music
Opus No. 820: 50 pieces to practice every day
Opus No. 821: 160 pieces of 8 or 16 bars to practice
Opus No. 822: Towards the Top The way to the peak
<p>Work No. 823: Preliminary Exercises
Work No. 824: Four-hand Exercises
Work No. 825: Children's Piano Tutorial
Work No. 829: Gorgeous Etudes
Opus No. 834: Etude for Performers
Opus No. 835: Children's Method
Opus No. 837: Modern Piano Chapter
Work No. 838: Chord Bass Exercises
Work No. 840: 50 Melody Practices
Work No. 845: 12 Light Exercises
Work No. 848: New Little Hands 32 Piano Daily Lessons
Opus No. 849: Smooth Etudes
Opus No. 861: Etudes for the Left Hand
Czerny Etudes Op.740
A collection of piano etudes created by Austrian piano educator, pianist and composer Czerny. ***There are 50 etudes.
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Practice for the five fingers of the right hand in the 3rd piece in D major, a clear training for speed determination;
Practice the 3rd degree of the right hand in the 4th piece in B flat major;
No.5 The first is the scale practice of the same tone for both hands in E flat major;
The arpeggio practice for the left and right hands in No. 6 in A flat major;
The repetition of the same tone for the right hand in No. 7 in C major;
In No. 8 in A minor, the left hand practices the octave briskly;
In the No. 9 in E major, the right hand practices the octave briskly, practicing appliqués and staccatos, and jumping lightly;
Right-hand third exercises for No. 10 in C major, including scales;
Thumb swapping and finger expansion exercises for right-hand No. 11 in F major;
The arpeggio exercises for the left hand in No. 12 in D minor;
The right hand of No. 13 in B flat major quickly goes through the scale exercises;
The broken chord practice for the right hand in No. 14 in G ;
Exercises for left and right hand expansion in No. 15 in E flat major;
Exercises of changing thumbs for right-hand triplet in No. 16 in C major;
No. 17, right-hand scale practice in A minor;
No. 18, left-hand and right-hand arpeggios in A-flat major, practice with both hands crossed;
No. 19, right-hand fingers at different distances in B-flat major Expansion exercises;
Double octave exercises for left and right hands in No. 20 in G major;
Arpeggio exercises for left and right hands in No. 21 in D major;
No. 22 No. 23 B major vibrato practice;
No. 23 E major left-hand echo, light touch practice;
No. 24 A flat major when playing the black keys with the right thumb Practice with stable hand posture;
Right-hand scale practice of No. 25 in D flat major;
Right-hand arpeggio practice of No. 26 in A major;
The 27th octave exercise for the right hand in D major, including four parts;
The 28th arpeggio exercise for the left hand in D major (B major);
The 29th piece Right-hand echo wave practice in D major;
Quick two-tone practice for the right hand in No. 30 in F major;
Right-hand arpeggio practice in No. 31 in A minor, with the thumb passing through the palm of the hand ;
No. 32 chord exercises for the left and right hands in C major, including octave staccato, and repetition of the same tone;
No. 33 octave jump exercises for the right hand in A flat major, including both left and right hands. Octave practice;
Practice the third vibrato of the right hand of No. 34 in C major;
Repeatedly practice the unison of the right hand of No. 35 in F major to decompose the octave;
< p>No. 36 in A major, the right hand breaks down the chords, and the fingers can be stretched freely;No. 37, in D minor, the same sound pattern is practiced repeatedly with the left and right hands, including arpeggios;
No. 38 Practice alternating octaves between left and right hands in B flat major;
Practice the right-hand third of No. 39 in G major;
Practice the right-hand chords and staccato of No. 40 in C major; < /p>
Flexible exercises for left and right fingers in No. 41 in A minor;
Practice of right-hand diplets and echoes in No. 42 in F major;
No. 43 in D Exercises for the thumb of the right hand to pass dexterously in the major key, including decomposition of chords;
No. 44 in G major, decomposition of double notes for the left hand, a light octave exercise;
No. 45 in A flat Legato and singing exercises for the melody of decomposed chords in the major key for the left and right hands;
Practice of arpeggios for the left and right hands of No. 46 in F major;
Right hand of No. 47 in G flat major Practice of decomposing chords and arpeggios;
Left- and right-hand vibrato exercises in No. 48 in A flat major, scales;
Right- and left-hand octave staccato exercises in No. 49 in G major;
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No. 50 in G minor. Decompose the left and right chords and practice various combinations.
"Quick Etudes" Etudes Op.299
A collection of 40 quick piano etudes created by Austrian piano educator, pianist and composer Czerny. Op.299 is one of Czerny's important works, and there is a longer etude here.
No. 1, C major, smooth scale practice for the right hand;
No. 2, C major, smooth scale practice for the left hand;
No. 3, C major Tuning the right hand to decompose the chords, repeating the same type;
The practice of continuous echoing of the right hand in the 4th piece in C major;
The smooth scales of the 5th piece in C major for the left and right hands;
Exercises for No. 6 in C major with five-finger disjuncts on the right hand, various sound patterns, and repetition of the same sound pattern;
Exercises for No. 7 in C major with five-finger disintegration on the left hand, various sound patterns Sound patterns, the same sound pattern is repeated;
No. 8 C major, comprehensive finger exercises for the right hand, smooth scale arpeggios;
No. 9 C major, left and right hand five fingers and scales , including fast movements of the five fingers;
No. 10 F major left-hand five-finger exercise, Albian bass, decomposed chords;
No. 11 C major right-hand third decomposition, Repeating the same tone;
No. 12 right-hand arpeggio in F major, practice of balanced unison playing;
No. 13 right-hand arpeggio in B-flat major, correct timing; < /p>
Exercises for various echoes of the right hand in No. 14 in F major;
Five-finger exercises in chromatic scales in the right hand of No. 15 in C major;
No. 16 The right hand of G major decomposes double tones, and various sound patterns decompose double tones;
The progression of polyphonic parts of the 17th right hand of F major, repetition of the same type, and finger independence practice;
No. 18 in G major, five-finger exercises for the same type of repetitions for the left hand, including decomposition of thirds;
No. 19, right-hand arpeggios in F major, repetitions of the same type, finger agility exercises;
No. 20 in C major, left and right hand decomposition and expansion exercises;
No. 21 in C major, strength exercises for the five fingers of the right hand, with melody in the left hand;
No. 22 in G major Repeated practice of tuning the left and right hands in unison;
Various decompositions of double tones for the right hand of No. 23 in A major;
Scales and five-finger exercises for the right hand of No. 24 in D major, double tones and triples
No. 25 in E-flat major, right-hand scale playing in unison, balance and dynamics exercises;
No. 26 in A major, right-hand legato, phrases and speed, six pairs of uncertainties Combination training of numerical notes;
No. 27 in G minor, two-note tremolo practice for left and right hands;
No. 28 in C major, right-hand decomposition of octaves, repetition of the same type, four and five fingers Independence and strengthening, expansion of the fingers;
Parallel scales for left and right hands in No. 29 in E major, jumping staccato, double tone in third;
No. 30 in C major for left hand Contains arpeggios of octaves and right-hand divisions;
No. 31 in B-flat major, left- and right-hand chromatic scales, and various movements of the five fingers;
No. 32 in C major Cross-handed arpeggios;
No. 33 left-hand scales and five-finger exercises in E major, including parallel scales;
No. 34 comprehensive left-hand finger exercises in A minor, right-hand chord rhythm , the expansion of the fingertips;
No. 35 in A major, the right hand decomposes the octave, and the left hand jumps;
No. 36, in C major, the left and right hands reverse the arpeggios, and reverse half Fast tone groups of scales, comprehensive exercises for fingers;
No. 37 right-hand polyphonic progression in A flat major, exercises in the high range;
No. 38 G major Tuning the double tremolo in the right hand, with a vibrato of sustain, split playing of left and right hands;
No. 39 right-hand arpeggio in D flat major, including crossed hands;
No. 40 F Comprehensive exercises for left and right-hand fingers in major keys, including vibrato with sustain.
Czerny's "Thirty New Piano Technique Etudes" 30 New Studies in Technics Op.849 (also translated as "Piano Fluency Etudes"), the average student will probably read "Elementary Piano Etudes" 》Op.599 can be connected after playing to about 70 lines.
However, for younger piano children, or whose basic skills are not very good, they may need to make some appropriate supplementary lessons according to the different conditions of finger independence. For example, use Czerny's "Simple Piano Etude" Op. 139 as the basis. transition.
It is not difficult to play all these songs, but the so-called "fluent etude", as the name suggests, must have a certain speed. To really meet this requirement, it will take a lot of effort. First of all, we need students to learn to add corresponding wrist movements according to different sound patterns on the premise that their fingers are initially independent, so as to cope with the repetition of the same sound pattern for a long time - please note that this is the most common music in the 19th century. One of the texture composition methods.