Czerny op.599 for Solo Learners

Teacher Stefan Wyatt
Categories FREE Courses
Students 227 (Registered)

This is an ongoing course. New lesson videos are added every week.

This edition of Czerny’s tamous op.599 was created specitically for solo learners. The score is easier to read due to better spacing, the descriptions added to each exercise provide essential technical guidance, and by watching the detailed video tutorials, you will have a teacher in the comfort of your home.

This is a supplementary technique and artistry book in my Beginner Piano Course series. The exercises in this book do not correlate directly with any chapter in the lesson books but they can be supplementec as necessary. Some of the studies from op.599 can also be found in the lesson books.

This book can be used by any beginner/ intermediate student learning the piano, even if they are not following the Beginner Piano Course. The book can be used on its own but it’s best to use it alongside other piano literature.

Curriculum

5 Sections
54 Lessons
Lifetime

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First lesson in reading the notes
The first 10 exercises in the book are more about reading the notes rather than working on technique but even in these very simple exercises we can focus on basic technical challenges such as key attack, chords, finger legato, even tempo and correct hand shape. In modern method books, we would never start reading notes in this manner. Multiple ledger lines are introduced much later on and learning intervallic reading is more beneficial than memorising every note. Nevertheless, the exercises are great to master the relationship between basic note values by counting evenly at a steady pulse. Try to play the melodies by looking at the intervals instead of the note names or finger numbers. There is no tempo mark for any of these exercises, therefore, speed is the last thing to worry about. Evenness and accuracy is our primary focus. Slow practice will lead to great results. The book doesn’t specify whether these exercises should be played legato or detached. It’s best to try both. Detached is easier but legato (connected) will allow these simple melodies to sound more musical. Play the melodies with curved fingers and a rounded, relaxed hand.
10
Five-finger exercises with quiet hand
This section explores different styles of melodies in five-finger positions over a chordal accompaniment. We learn about eighth notes and sixteenth notes, triplet, staccatos, legato, drop slurs and melodies in thirds. Since the melody always rests in the right hand, we have to learn to balance the sound by making the melody stand out over the chordal accompaniment. This is basic coordination and independence of the hands.
8
Exercises within the compass of an octave
This section is very similar to the previous one but the exercises are progressively harder and they move away from the five-finger position while staying within the one octave range. The pieces introduce thumb crossings, scales, arpeggios and more time signatures. The exercises are more complex and can be made more musical/artistic by adding natural dynamics and shaping the melody above the accompaniment.
13
Exercises in the Bass clef
11
Exercises with rests and other signs
12