The basic compositional principle of #11 is a contrast of textures: thick chords on each beat, contrasting with syncopated melodic material in continuous eighth notes. Czerny strings together 8-bar episodes in these contrasting textures, and calls for it to be played very fast and “sempre stacccatissimo.” The study has an improvised, capricious character, but it’s not very interesting music. For my single version I wanted to fashion a piece making use of what, in my opinion, is Czerny’s best material. In the process, this amounted to a drastic simplification of #11. Notice that this study can make very useful and engaging frappe music specifically because of the contrast of textures. Teachers often create frappe combinations that combine a section of frappes followed by a section of petits battements which parallels Czerny’s texture of sharp on-the-beat chords contrasting with continuous 8ths.
Op 335 #11, Single Version: Quick March, 16 sets of 8-count phrases
This is my performance of #11 greatly simplified as a quick march, for which I supply a score. I built the arrangement from Czerny’s chords-episode (mm 1-16) and his syncopated melodic episode (mm 17-24). I shuffled Czerny’s material to create four 8-bar episodes: a chordal section in quarter notes (“frappes”) folowed by a section in continuous eighth notes (“petits battements”), followed by another quarter note section, followed by another eighth note section. I reduced the voices in all of Czerny’s LH chords to maintain a lighter sound, and I transposed Czerny’s mm 25ff up to C so as to end my arrangement in the tonic.