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Czerny Op 740 #19, 2 Versions

In ballet class a measure of 3/4 is usually counted as a single count in a combination. Even if you can get to Czerny’s speed, #19’s slow 3/4 count is unlikely to be called for. But each measure of #19 can be rebarred and renotated in different ways to get a much more manageable and useful piece, and the first 16 measures resolve neatly into an ABAC structure with a full cadence in m 16.

Op 740 #19 1st Version: Ronds de Jamb en l’Air, 8 sets of 8

This is my performance of the first 16 bars of #19 arranged into eight 8-count phrases of 3/4 and played at the quarter @120, a tempo suitable for a typical ronds de jamb en l'air combination at the barre. I provide a score in which it will be seen that I split each bar into two and doubled the value of Czerny’s 8th’s and 32nd’s. For the most part Czerny’s RH can be easily projected with an 8th note melody line in 3/4, especially with rhythmic anchoring from the LH.

Having doubled Czerny’s 16 bars my piece is four sets of 8 and will need to be repeated for a typical barre combination. Because the material is already repetitive I hit on the idea of varying the A section (Czerny’s mm 1-4, my mm 1-8) at the second iteration by moving it to the LH. I was happy to discover that it lies well in the LH (with the pedal-point on the 8va, not the 10th).

It will be noticed that I halt Czerny’s continuous pedal point to create cadences, a usual practice of mine when arranging these studies for class.

From a 3/4 arrangement of #19 you can easily create further transformations simply by re-barring and adapting the LH accompaniment to project new rhythms.

Op 740 #19 2nd Version: short, skippy 6/8, 8 sets of 8

This is my performance of my 1st Version arranged in 6/8 (without a repeat). I provide a score in which it will be seen that the basic process is to split each of my 3/4 measure into two (just as I did with Czerny’s original) and create a LH accompaniment. While experimenting with different manipulations of Czerny’s material what emerged for me was music the chief interest of which is off-kilter rhythm in a thick web of notes, short and quirky.

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