The practical Czerny Band 1 A systematically graded and progressively arranged collection of Carl Czerny's Studies selected from his entire works 徹爾尼 譜表 改編 鋼琴練習曲 朔特版
在編纂這本練習曲集時，作者的主要願望是編寫一本能逐步向學生介紹鋼琴技巧所有問題的作品，給他們信心和技術設施，培養他們的鋼琴天賦，從而為他們提供技術和音樂背景，使他們不費吹灰之力就能掌握純音樂材料。如果演奏得有品位、有魅力，而不是枯燥機械地練習，學習也有助於培養樂感。越是循序漸進地引入技術難度，就越能從這些純音樂方面的學習中獲益。第一卷中的大部分學習曲目都特意選擇了三度音階形式，以及二度音階形式。從三和弦開始，學生就有機會將這些練習與其他音樂學習結合起來。通過將三和弦唱成 la 或 do mi sol（或 bi gu la）的音節，然後在不同的位置上演奏，可以對耳朵進行實際訓練。五聲音域內的民歌或兒歌的簡短詩句也可以用同樣的方法來演奏，這樣，將第一首練習曲轉調到其他調上就不會再對普通的音樂耳朵造成很大的困難了。這樣，學生就能在調性和技術上逐漸接觸到半音符號，從而有可能比通常更早地使用 C 大調以外的其他調，正如本作品所建議的那樣。還應該注意動態；首先通過實際例子喚起學生對響亮和柔和音色對比的感覺，然後讓他們在樂器上模仿。他自己必須判斷自己的音色是否符合他的音樂意圖，這使他從一開始就習慣於批判性地傾聽自己的演奏。在第一首練習曲中，出於教學的原因，原曲中的右手部分被分成了雙手，但並沒有改變原曲的旋律線。一些練習曲被移調到其他調上"
作曲家: Czerny, Carl
編者: Mayer-Mahr, Moritz / Stark, Adolph
樂器: piano
出版社: Schott Music
曲目:
Playing alternately with both hands - Different rhythm in both hands - Sixths and tenths in both hands - Exercises in different positions - Double stops - Chords - Staccato - Five-Finger exercises - Exercises in velocity - Exercise with notes held down - Sixths and thirds (non legato) - Legato thirds - Exercises in velocity - Staccato-Thirds and -Sixths - Exercises with notes held down - Two exercises in minor - Passing the thumb - Mezzo-Staccato and notes to be taken off lightly - Scales - Thirds - Exercises in velocity - Chords
In the compilation of this collection of studies, the author was moved principally by the desire to produce a work which would introduce the student gradually to all the problems of the piano technique, give him confidence and technical facilities, develop his pianistic gifts, and thus provide him with the technical and musical background to enable him to master the purely musical material without too great an effort. Studies are also useful in developing a musical sense, if played with taste and charm and not practiced in a dull and mechanical manner. The more gradually the technical difficulties are introduced, the more will be gained from these studies from the purely musical side. The majority of the studies in the first volume have been chosen purposely in the triad form, along with those in diatonic scales. Proceeding from the triad, the student is afforded to the opportunity of combining these exercises with his other musical studies. Ear training is given practical application by singing the triad to the syllables la or do mi sol (or bi gu la), and then playing it in different positions. Short verses of folk or children's songs within a range of five tones can also be played in the same way so that the transposition of the first exercises into other keys will no longer offer any great difficulties for an ordinary musical ear. In this way, the student is gradually introduced to the chromatic signs, tonally and technically, which makes it possible to use other keys than C major much earlier than usual, as is suggested in the present work. Attention should also be paid to dynamics; first awaken a sense of the contrast between loud and soft tones by practical illustration, which the student should then imitate on the instrument. He himself must decide if his tone corresponds to his musical intentions, which accustoms him from the start to listen critically to his own playing. In the first exercises, the right hand part in the original has been divided between both hands for pedagogic reasons, without altering the melodic line of the original. A number of studies have been transposed into other keys.