• rudyapffelmusic

Czerny Op 335 #3, Single Version

This is great frappe music. The energetic staccato and the 8th note anacruses in the A Section powerfully energize the downbeats--the “strike” of a frappe--and in my arrangement I’ve dotted the chords in Czerny’s B Section to keep that rhythm and energy going.

Unusually, this music seems to work better at a faster tempo than Czerny asks for--say the half @95, which is, in my experience, a typical tempo for frappe combinations. The faster tempo is going to mean hard work to master some of the material (eg the repeated chords starting m 40), but if you cut some of the material you can still make a shortcut arrangement that turns out to be a pretty substantial piece of repertory.

Op 335 #3, Single Version: sharply accented staccatto 4/4, 16 sets of 8-count phrases

Op 335 #3 Single Version Audio

This is a performance of my single version of #3, for which I provide a score. It’s a shortcut arrangement that uses only mm 1-12 and mm 21-35 of Czerny’s study. The two problems were deciding how to lengthen his A Section 6-bar phrases to 8-bar phrases, and how to deploy the 15 bars of broken octaves and chords in his B Section so as to get an even, squared-off structure. My solution has been an AABA form. I rewrote the harmonies to get to the keys I needed to be in. In addition to dotting Czerny’s chord material I also moved it in and out of a lower register to relieve the high tessitura.

Op 335 #4 Single Version Score

1 view0 comments

Recent Posts

See All

It’s well to go into some detail analyzing my approach to this first study of Op 335; the analysis can serve as illustration of my approach to the rest of the studies in this and the other collections

This is certainly very modest music, and at Czerny’s deliberate tempo you have to work to keep it from sounding banal. But the clear 2-part counterpoint and the character of calm simplicity make it we

Almost all the studies of Op 335 feature polyphony in 2 or more voices, and often, as here, 3 and 4 voices. But with 4 voices Czerny tends, as here, to avoid counterpoint; the voices congeal into chor