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Czerny Op 740 #21, 2 Versions

When Czerny has the hands move in parallel with the same note values my strategy is to have the hands trade off: one hand plays the note pattern, the other plays some kind of accompaniment, then they trade places (see #5). This makes it easy to keep clear rhythmic support for the dancers and affords you the opportunity to work both hands. The result completely undermines Czerny’s technical agenda but (I hope) retains his music.

You can easily fashion a one-pager out #21: mm 1-16 + mm 1-8 with m 8 rewritten in the dominant to move the harmony back to the tonic + mm 25-32.

Op 740 #21, 1st Version: short polka, 16 sets of 8

This is my performance of a one-pager arrangement of #21, for which I provide a score. The score shows my ideas for trading-off the hands and realizing an accompaniment for Czerny’s 16ths material.

I think the great fun of this study is the B section when Czerny moves into diminished 7th harmony and introduces melodic riffs in broken octaves, so I didn’t settle for just a one-pager of #21.

Op 740 #21, 2nd Version: extended galop, 36 sets of 8

This is my performance of #21 using all of Czerny’s material (as well as a bit of Giselle) and with the hands trading off. I provide a score.

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