Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599

Mahdi Kazemi; Ramin Ghasemi Shayan

doi:doi:10.11648/j.ajad.20210604.17

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Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599

Mahdi Kazemi, Ramin Ghasemi Shayan

Published in American Journal of Art and Design (Volume 6, Issue 4)

Received: 19 November 2021 Accepted: 11 December 2021 Published: 29 December 2021

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Abstract

Background: Although research into the content of instrumental lessons is limited, that which is available seems to point to the predominance of technique, notation, and repertoire as the main ingredients for lessons. Method: In this paper, Carl Czerny's approach to preparatory practices and training notes and five-finger training, more than one octave practices as well as the addition of bass clef in the left hand, addition of accidental and practices in easy scales and rhythmic practices and addition of rests in Etude Opus 599 have been investigated by descriptive, analytical, and experimental study. Result: Considering the weaknesses in playing techniques and the importance of the tonic etude, the focus of this paper is to identify the strengths and weaknesses of this etude for students and teachers. Studies have been conducted. Some of the issues raised in this etude are the age groups that can use this etude or whether there is a need for a prerequisite for hitting this etude. Or do you need to offer other practices to the student alongside this etude? In this article, we have responded to these problems. Conclusion: The quarter and eighth notes, then the addition of the combined meters as well as the triolé-eighth notes go ahead and are used in the lessons ahead of the tri-laeighth and trill sixteenth as well as a variety of rigorous. Finally, it is recommended that mechanical practices for hand rotation and speed practices and ornament notes and step-by-step practices be used for the student to facilitate the implementation of these etudes for students, as well as these practices are suitable for all ages that reach the intellectual and physical maturity necessary to perform these etudes.

Published in	American Journal of Art and Design (Volume 6, Issue 4)
DOI	10.11648/j.ajad.20210604.17
Page(s)	153-157
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2021. Published by Science Publishing Group

Keywords

Etude, Carl Czerny, Rhythm, Accidental, Nonchordal Tone, Czerny Opus 599

References

[1]	Dubal, David, Translation Alireza Seyed Ahmadian, Mahour, 2004 Piano Art.
[2]	Pianistmagazine, Frank Huang, 21 August 2019.
[3]	Journal of New World Sciences Academy, April 2014, Toptas Row.
[4]	Anshan Normal University, china, Aiyong Xin 2018.
[5]	Dubal, David, Translation Alireza Seyed Ahmadian، Mahour, 1383 Piano Art.
[6]	Igor Vladimirovich, Sposobin, Translator: Masoud Ebrahimi, both singing. 2009 Form in Music.
[7]	Dehbasti, Soroush, Tehran: How many, 2008 What a pianist should know is a discussion of musical science in music.
[8]	Gibbs, L. (1993) Private Lives, a Report on the Survey of Private Music Teachers and their Professional Development and Training. Goldsmiths College, University of London.
[9]	Hallam, S. (1997) `The Development of Memorisation Strategies in Musicians: Implications for Education', British Journal of Music Education, 14 /1, pp. 87±97.
[10]	Strong, A. D. (1992) `The Relationship Between Hemispheric Laterality and Perception of Musical and Verbal Stimuli in Normal and Learning Disabled Subjects,' Psychology of Music, 20/2, pp. 138±53.
[11]	Thompson, K. (1984) `An Analysis of Group Instrumental Teaching', British Journal of Music Education, 1/2, pp. 153±71.
[12]	Taylor, H. (1979) The Pianist's Talent. London: Kahn and Averill.
[13]	Goleman, D. (1996) Emotional Intelligence. London: Bloomsbury Publishing Plc.
[14]	Brown, G. & Harrison, H. (1995) `Motivation and Musical Literacy in the Education of Year 3 Children', British Journal of Music Education, 12/1, pp. 45±50.
[15]	Adolphe, B. (1991) The Mind's Ear. Missouri: MMB Music Inc.

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APA Style

Mahdi Kazemi, Ramin Ghasemi Shayan. (2021). Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599. American Journal of Art and Design, 6(4), 153-157. https://doi.org/10.11648/j.ajad.20210604.17

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ACS Style

Mahdi Kazemi; Ramin Ghasemi Shayan. Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599. Am. J. Art Des. 2021, 6(4), 153-157. doi: 10.11648/j.ajad.20210604.17

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AMA Style

Mahdi Kazemi, Ramin Ghasemi Shayan. Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599. Am J Art Des. 2021;6(4):153-157. doi: 10.11648/j.ajad.20210604.17

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@article{10.11648/j.ajad.20210604.17,
  author = {Mahdi Kazemi and Ramin Ghasemi Shayan},
  title = {Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599},
  journal = {American Journal of Art and Design},
  volume = {6},
  number = {4},
  pages = {153-157},
  doi = {10.11648/j.ajad.20210604.17},
  url = {https://doi.org/10.11648/j.ajad.20210604.17},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20210604.17},
  abstract = {Background: Although research into the content of instrumental lessons is limited, that which is available seems to point to the predominance of technique, notation, and repertoire as the main ingredients for lessons. Method: In this paper, Carl Czerny's approach to preparatory practices and training notes and five-finger training, more than one octave practices as well as the addition of bass clef in the left hand, addition of accidental and practices in easy scales and rhythmic practices and addition of rests in Etude Opus 599 have been investigated by descriptive, analytical, and experimental study. Result: Considering the weaknesses in playing techniques and the importance of the tonic etude, the focus of this paper is to identify the strengths and weaknesses of this etude for students and teachers. Studies have been conducted. Some of the issues raised in this etude are the age groups that can use this etude or whether there is a need for a prerequisite for hitting this etude. Or do you need to offer other practices to the student alongside this etude? In this article, we have responded to these problems. Conclusion: The quarter and eighth notes, then the addition of the combined meters as well as the triolé-eighth notes go ahead and are used in the lessons ahead of the tri-laeighth and trill sixteenth as well as a variety of rigorous. Finally, it is recommended that mechanical practices for hand rotation and speed practices and ornament notes and step-by-step practices be used for the student to facilitate the implementation of these etudes for students, as well as these practices are suitable for all ages that reach the intellectual and physical maturity necessary to perform these etudes.},
 year = {2021}
}

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TY  - JOUR
T1  - Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599
AU  - Mahdi Kazemi
AU  - Ramin Ghasemi Shayan
Y1  - 2021/12/29
PY  - 2021
N1  - https://doi.org/10.11648/j.ajad.20210604.17
DO  - 10.11648/j.ajad.20210604.17
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 153
EP  - 157
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20210604.17
AB  - Background: Although research into the content of instrumental lessons is limited, that which is available seems to point to the predominance of technique, notation, and repertoire as the main ingredients for lessons. Method: In this paper, Carl Czerny's approach to preparatory practices and training notes and five-finger training, more than one octave practices as well as the addition of bass clef in the left hand, addition of accidental and practices in easy scales and rhythmic practices and addition of rests in Etude Opus 599 have been investigated by descriptive, analytical, and experimental study. Result: Considering the weaknesses in playing techniques and the importance of the tonic etude, the focus of this paper is to identify the strengths and weaknesses of this etude for students and teachers. Studies have been conducted. Some of the issues raised in this etude are the age groups that can use this etude or whether there is a need for a prerequisite for hitting this etude. Or do you need to offer other practices to the student alongside this etude? In this article, we have responded to these problems. Conclusion: The quarter and eighth notes, then the addition of the combined meters as well as the triolé-eighth notes go ahead and are used in the lessons ahead of the tri-laeighth and trill sixteenth as well as a variety of rigorous. Finally, it is recommended that mechanical practices for hand rotation and speed practices and ornament notes and step-by-step practices be used for the student to facilitate the implementation of these etudes for students, as well as these practices are suitable for all ages that reach the intellectual and physical maturity necessary to perform these etudes.
VL  - 6
IS  - 4
ER  -

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Author Information

Mahdi Kazemi

Department of Music, Tehran Art University, Tehran, Iran
Ramin Ghasemi Shayan

Radiology Department, Paramedical Faculty, Tabriz University of Medical Sciences, Tabriz, Iran

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APA Style

Mahdi Kazemi, Ramin Ghasemi Shayan. (2021). Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599. American Journal of Art and Design, 6(4), 153-157. https://doi.org/10.11648/j.ajad.20210604.17

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ACS Style

Mahdi Kazemi; Ramin Ghasemi Shayan. Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599. Am. J. Art Des. 2021, 6(4), 153-157. doi: 10.11648/j.ajad.20210604.17

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AMA Style

Mahdi Kazemi, Ramin Ghasemi Shayan. Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599. Am J Art Des. 2021;6(4):153-157. doi: 10.11648/j.ajad.20210604.17

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@article{10.11648/j.ajad.20210604.17,
  author = {Mahdi Kazemi and Ramin Ghasemi Shayan},
  title = {Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599},
  journal = {American Journal of Art and Design},
  volume = {6},
  number = {4},
  pages = {153-157},
  doi = {10.11648/j.ajad.20210604.17},
  url = {https://doi.org/10.11648/j.ajad.20210604.17},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20210604.17},
  abstract = {Background: Although research into the content of instrumental lessons is limited, that which is available seems to point to the predominance of technique, notation, and repertoire as the main ingredients for lessons. Method: In this paper, Carl Czerny's approach to preparatory practices and training notes and five-finger training, more than one octave practices as well as the addition of bass clef in the left hand, addition of accidental and practices in easy scales and rhythmic practices and addition of rests in Etude Opus 599 have been investigated by descriptive, analytical, and experimental study. Result: Considering the weaknesses in playing techniques and the importance of the tonic etude, the focus of this paper is to identify the strengths and weaknesses of this etude for students and teachers. Studies have been conducted. Some of the issues raised in this etude are the age groups that can use this etude or whether there is a need for a prerequisite for hitting this etude. Or do you need to offer other practices to the student alongside this etude? In this article, we have responded to these problems. Conclusion: The quarter and eighth notes, then the addition of the combined meters as well as the triolé-eighth notes go ahead and are used in the lessons ahead of the tri-laeighth and trill sixteenth as well as a variety of rigorous. Finally, it is recommended that mechanical practices for hand rotation and speed practices and ornament notes and step-by-step practices be used for the student to facilitate the implementation of these etudes for students, as well as these practices are suitable for all ages that reach the intellectual and physical maturity necessary to perform these etudes.},
 year = {2021}
}

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TY  - JOUR
T1  - Investigating Carl Czerny's Approach to Teaching Notes, Rhythm and Nonchordal Tone and Accidental in Etude Opus 599
AU  - Mahdi Kazemi
AU  - Ramin Ghasemi Shayan
Y1  - 2021/12/29
PY  - 2021
N1  - https://doi.org/10.11648/j.ajad.20210604.17
DO  - 10.11648/j.ajad.20210604.17
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 153
EP  - 157
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20210604.17
AB  - Background: Although research into the content of instrumental lessons is limited, that which is available seems to point to the predominance of technique, notation, and repertoire as the main ingredients for lessons. Method: In this paper, Carl Czerny's approach to preparatory practices and training notes and five-finger training, more than one octave practices as well as the addition of bass clef in the left hand, addition of accidental and practices in easy scales and rhythmic practices and addition of rests in Etude Opus 599 have been investigated by descriptive, analytical, and experimental study. Result: Considering the weaknesses in playing techniques and the importance of the tonic etude, the focus of this paper is to identify the strengths and weaknesses of this etude for students and teachers. Studies have been conducted. Some of the issues raised in this etude are the age groups that can use this etude or whether there is a need for a prerequisite for hitting this etude. Or do you need to offer other practices to the student alongside this etude? In this article, we have responded to these problems. Conclusion: The quarter and eighth notes, then the addition of the combined meters as well as the triolé-eighth notes go ahead and are used in the lessons ahead of the tri-laeighth and trill sixteenth as well as a variety of rigorous. Finally, it is recommended that mechanical practices for hand rotation and speed practices and ornament notes and step-by-step practices be used for the student to facilitate the implementation of these etudes for students, as well as these practices are suitable for all ages that reach the intellectual and physical maturity necessary to perform these etudes.
VL  - 6
IS  - 4
ER  -

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