The practical Czerny Band 1 A systematically graded and progressively arranged collection of Carl Czerny's Studies selected from his entire works 彻尔尼 谱表 改编 钢琴练习曲 朔特版
在编纂这本练习曲集时，作者的主要愿望是编写一本能逐步向学生介绍钢琴技巧所有问题的作品，给他们信心和技术设施，培养他们的钢琴天赋，从而为他们提供技术和音乐背景，使他们不费吹灰之力就能掌握纯音乐材料。如果演奏得有品位、有魅力，而不是枯燥机械地练习，学习也有助于培养乐感。越是循序渐进地引入技术难度，就越能从这些纯音乐方面的学习中获益。第一卷中的大部分学习曲目都特意选择了三度音阶形式，以及二度音阶形式。从三和弦开始，学生就有机会将这些练习与其他音乐学习结合起来。通过将三和弦唱成 la 或 do mi sol（或 bi gu la）的音节，然后在不同的位置上演奏，可以对耳朵进行实际训练。五声音域内的民歌或儿歌的简短诗句也可以用同样的方法来演奏，这样，将第一首练习曲转调到其他调上就不会再对普通的音乐耳朵造成很大的困难了。这样，学生就能在调性和技术上逐渐接触到半音符号，从而有可能比通常更早地使用 C 大调以外的其他调，正如本作品所建议的那样。还应该注意动态；首先通过实际例子唤起学生对响亮和柔和音色对比的感觉，然后让他们在乐器上模仿。他自己必须判断自己的音色是否符合他的音乐意图，这使他从一开始就习惯于批判性地倾听自己的演奏。在第一首练习曲中，出于教学的原因，原曲中的右手部分被分成了双手，但并没有改变原曲的旋律线。一些练习曲被移调到其他调上"
作曲家: Czerny, Carl
编者: Mayer-Mahr, Moritz / Stark, Adolph
乐器: 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.