I love the sparkle of Czerny’s note pattern here, and the music remains quite effective with the metronome at 100 rather than his 120. Limiting myself to a one-pager, mm 1-24 are easily shaped into a ternary structure and, as usual, I avoid the mounting technical challenges of Czerny’s second and third pages. The drawback is that the piece is quite short, so if you limit yourself to mm 1-24 you want to figure out one or another strategy for repeating the material.
Op 740 #44 1st Version: sparkling 2/4 in triplet 16ths, 16 sets of 8
This is my performance of #44 reduced to a one-pager in ternary form. After m 24 I repeat mm 9-16 with a final cadence. I mark off large structures with full stop cadences, a practice which may not be necessary for class but which gives me helpful micro-rests when I have to repeat the arrangement without stopping. My formula for repeating is AA’BB, AA’BA’, staying in the key of the dominant at the first iteration of B, and then introducing the minor 7th at the end of the second iteration so as to modulate smoothly to the tonic with the recapitulation of A.
For a 6/8 version you can play Czerny’s RH triplets as regular 16ths and work out some kind of waltz accompaniment with the LH.
Op 740 #44 2nd Version: light, quick 6/8, 16 sets of 8
This is my performance of my one-pager projected in 6/8. Like my 1st Version, the basic arrangement is quite short and would likely have to be repeated it at least once, even at barre. I supply a score to show my ideas for the LH accompaniment and my strategy for an expansion.
Czerny’s #44 readily pairs with several other studies because they share his favorite Op 740 ingredients: tuplet 16ths, duple meter (whether 2/4 or 6/8), regular phrasing (mostly), and conventional harmonic progressions (usually). The relationship is quite close between #44 and #23.
This is a DAW realization of my “Hybrid” pairing of #44 and #23, for which I provide a score. As I've explained (see #17 3rd Version), my Hybrid arrangements fit one study in consonant counterpoint to another so that they might be played simultaneously. I follow a basic rule: one study will be “dominant” in that the other, “subordinant,” study is tweaked where necessary to fit the dominant’s melodic lines and harmony. But I preserve the “subordinant” study’s identity by keeping its distinctive note patterns. In this case #44 (RH) is the dominant study and #23 (LH) is the subordinant, but while the key is the dominant’s G Major, the meter is the subordinant’s 6/8.
And as I've also explained (#17, 3rd Version), I’ve not worked up these hybrid arrangements for class; they are study and entertainment for me.
This is my performance of my 1st Version paired with #41 which makes its appearance as an interlude, not as an equal. I’ve altered the RH of #41 to make it more like the LH of #44. I’ve taken the tempo down to accommodate #41, and this makes the arrangement somewhat more sedate than the others, and of course much easier for the RH.