Cherny studied under the famous musician and composer Beethoven. His favorite student Beethoven taught him to play the piano for free at 180 1- 1 803. He actively promoted Beethoven's works, and the second and fourth chapters of his book Encyclopedia of Theory and Piano Playing No.500 discussed how to correctly play Beethoven's works. He can recite all Beethoven's piano works.
In this way, Cherny's piano educator trained his student Liszt. He taught Liszt piano for free, and Liszt also said that. "My Cherny taught me everything"
As a piano teacher, he wrote a lot of piano etudes in his life, which is the basic material for piano students to contact. His position is the bridge of Beethoven's piano in today's era.
Nowadays, there is a "piano craze" in China-thousands of children are learning the piano, and everyone chooses different degrees of Cherny piano etudes to improve their performance. The name Cherny has become synonymous with piano etudes and is well known to pianists and piano art lovers.
179 1 year, the famous Austrian pianist, educator and composer Cherny was born in a musical family in Vienna. He can play the piano at the age of 3 and record his own musical ideas at the age of 7. /kloc-at the age of 0/0, he has been able to play all the piano works of Mozart and Clementine clearly and fluently, and his musical memory is excellent. 1800, 9-year-old Cherny made her debut as a pianist in Vienna. 180 1 year, Cherny, who was only 10 years old, met Beethoven. Cherny Beethoven was moved by the wonderful performance and accepted the students gladly. Later, Cherny played Beethoven's Concerto C and Concerto of the Emperor, which made him famous.
Playing Cherny attracted great attention from critics. He is the second most important pianist of Juan Meyer in Vienna. But because Cherny is delicate and shy, playing with him is more suitable for teaching. Therefore, compared with 15 years old, he started the teaching career for which Cherny gave his life. As an excellent piano teacher, he trained a large number of talented students, including Dole, Clark, Interleukin, Selberg and so on. But the most famous is a generation of pianist Liszt.
Liszt worked with Cherny when he was 9 years old. According to Cherny's autobiography, Liszt's performance is very irregular, rough and chaotic, and his improvisation has no solid foundation and sound and complete inspiration. But in his performance, there is an innate talent, and it is this rare temperament that makes Cherny feel that this person is a little confused. After careful training by Cherny and Liszt, they practiced for several months. When hummel plays Liszt, Beethoven and Bach, Cherny doesn't need to pay attention to his playing skills, let him know that you are focusing on the composer's creative style. Cherny's new works continue, and he thinks Liszt has a shocking visual spectrum ability. A year later, Liszt's performance caused a sensation in Vienna. However, Cherny and Liszt are not confined to rigid mechanical skills training, but let him give full play to his talents and make him a famous pianist.
Piano as an outstanding educator, Cherny's achievement lies not only in cultivating a group of famous pianists, but also in establishing a complete teaching system. Cherny wrote a large number of piano etudes and papers, which led to the healthy development of artistic piano performance. Clermont is one of these classical Athenian etudes. After careful arrangement, strict classification and in-depth adaptation, it is suitable for piano students of different levels.
As a student and a teacher of Beethoven and Liszt, Cherny played a unique role in the piano history of19th century. If G-pillar Clemente's energetic playing style and Liszt's playing skills are two milestones in the history of piano playing, then Cherny is the paver to communicate these two milestones. Today, Cherny has been in this century for 136 years, and great changes have taken place in piano music creation and performing arts. However, Cherny's piano etudes are still of great practical significance today, especially for basic training and fingering. It is his outstanding contribution to the piano art, which deserves to be remembered and admired by future generations forever.
His training and playing skills of fingering piano etudes have played a role in many countries and are widely used as piano teaching materials. Piano Elementary Course (Op.599), Piano Etudes Shun (Op.849), Piano Etudes Kuai (Op.299), (Op.740, also known as No.699) and Op.365 are the main piano textbooks commonly used in China. Other occasional etudes and professional training include engineering 139, 82 1, 636, 22 1, 72 1, 337, 26 1, 553, 300, 335, 335.
The teaching of cherny s piano etudes;
Op. 92: Tokata Op. 139: Simple exercise 100.
Op. 15 1: big shaking exercise
16 1 item: 48 prelude and termination
Etudes Op. 229: Etudes for two pianos, 40 in total. 239.
Etude 50: Double Event
244: Large-scale semi-engineering scale exercise
No.245: After a large-scale practice of two-tone three-degree sentences,
& gtOp. 26 1: Basic exercises 10 1 Ops.
No.268: Grand Etude
Sonata Op. 277: Beginners' Practice 10
Op. 299: Quick Exercise 40
Op. 335: Legato and Interruption
Play sports works and practice at 336: 24.
Op. 337:40 days of treatment.
355: Practice of Decorative Tone
Op. 359: Elementary Course Op. 365: Etudes for Advanced Performers.
Op. 380: 24 major degrees
Etude Op. 388: Prepare a simple etude.
Op. 399: Improved Zuoda 10 Etude No.400.
Works:
Practice fugue 409: 50 etude
Function 428 topic: 60 basic exercises
Op. 433: Etudes
Work preparation process no.453: a simple exercise of preparing for work
150 48 1No.: 50
Preparatory exercise No.495: 42 etudes and four hands
Op. 499: Two young pianists created Project 553.
Etude number: 6 octaves Etude No.584
Works: Elementary course of piano works.
No.599: 100 exercise
Op. 6 13: etude expression setting
Op. 632: 12 etude No.636
Work: Prepare for work and exercise your fingers.
No.684: 24 Irish song sound practice
Op. 692:24 Etudes of Large-scale Engineering Salon
No.694: juveniles
Etudes Op. 699: 706 Right-handed Works of Art
Yes: 24 New Ireland
Etudes op. 7 18: 24 left
Simple etude op. 727: Two pianos
12 etude op. 735: etude for three degrees to the left
Work 40 times a day to practice.
Issue 740: Gorgeous Practice of Flexible Finger 50
Op. 748: Little Hand Exercise 25
Op. 749: Little Hand Exercise 25 and
Op. 750: Basic Exercise 30
Op. 75 1: Four-handed piano scale exercises
Op. 753: 30 gorgeous etudes
No: the characteristics of 25 etudes
No.756: 25 etudes in major
765 Gouffran Te
Etude Op. 767: 50 Etude.
Item 777: Exercise Finger 24
Excellent endurance and speed.
Etude Op. 785: 25 Main Features 792 Project
Etude number: 35, which realizes the working principle of piano etude precision technology.
No.793: arpeggio practice in large-scale projects
802: Skill training fingering
Op. 807: New Works
Etude 8 18: 50 finger exercise
Op. 8 19: melody and rhythm settings BR/> etude Op.820: Exercise No.8 or 16 160.
Operative paragraph 822:
Reaching the peak of work 823: practice every day
Preliminary Practice of 82 1 No.50 Project
Op. 824: Four Hands
Op. 825: Piano lessons for children.
No 829:
Gorgeous Etudes Op. 834:
Hyun-tech Op.No. Etude 835: Children's Method Effect
No.837: Modern Piano Works
Chapter 838: Bass Chord Practice
Op.840: 50 Melody Practice
Project 845: 12 works bright eye movement
No.848: 32 days of new piano lessons with small hands
Op. 849: flowing etude
Op. 86 1: etude left
Cherny Etude, Cherny Etude. 740
A collection of piano etudes by Cherny, an Austrian piano educator, pianist and composer. There are 50 etudes in all.
Practice the first finger of the right hand and the average movement of the fingers in C major;
The first two left and right hands practice thumb and arpeggio in G major from below;
The third D major exercises the fingers of the right hand, and there has been no clear high-speed train;
The first four exercises in B flat major and the third right hand exercise;
Practice the same type of two-tone scale in e flat major, article 5;
The sixth largest right-hand arpeggio practice;
The seventh right homophone polyphony in C major;
The eighth minor's left hand moves briskly in octave;
Practice the ninth brisk right octave in e major, leaning on the sound, staccato practice, turning and jumping;
Practice three times as much as your right hand in C major, including scale 10;
F big exchange transmission right thumb 1 1, finger extension exercise;
Article 12: Practice of keeping arpeggios flexible in D minor;
Practice the scale in B flat major, and pass quickly with your right hand13;
14 The first G-key right-hand string breaking exercise;
E-flat and big extension 15 right-hand exercise;
Remove the right thumb in C major and practice the triplet in 16;
Article 17 minor right-hand scale practice;
Article 18 right-hand arpeggio in major, the practice of crossing hands; Finger expansion
In 19, drop b for different distances;
Exercise article 20 of right hand double octave in G major;
Article 265438: Left-handed and right-handed arpeggio exercises in D major +0;
B flat big vibrato exercise 22;
Article 23 in E-flat major, the practice of light reverberating and touching keys;
Practice playing black keys's hand with the right thumb in the 24th A-flat position;
Practice your right hand in the scale of D flat major;
On the 26th, the main arpeggio practiced the right hand;
The 27th right hand of octave decomposition exercise in D major contains four voices;
Article 28 of left-hand arpeggio practice in D major (B flat major);
D echo in Boeing practice the right hand in article 29;
In 30 F major, practice your right hand quickly with two sounds;
Article 3 1 The minor's right arpeggio is practiced by practicing the thumb of the palm;
Practice right-handed chords in C major, including octave staccato and homophonic repetition.
Thirty-third main right-hand octave jumping exercises, including left-hand double octave exercises;
Article 34 of the third right hand vibrato exercise in C major;
35 F major, repeat the correct homonym and decompose octaves;
Article 36 is the practice of breaking the string with the right hand and stretching the fingers;
Repeat the same method for the right-hand sound pattern in 37 d minor, including arpeggio;
B-flat, left and right hands alternate octaves to practice Article 38;
The third right hand exercise in G major is 39;
Practice the 40th chord and staccato in C major with your right hand;
Article 4 1: Exercise the flexibility of minors' right fingers;
42 exercises in F major, two tones and echo;
By practicing the dexterity of the right thumb in D major, including Article 43 of Broken String;
Article 44 of the left hand in G major decomposes two sounds and multiplies lightly;
Forty-fifth broken string, right hand Legato melody, singing practice;
46 F major, right hand arpeggio practice;
The arpeggio practice of the 47th power-down decomposition G major chord;
Forty-eighth right hand tremolo practice, scale;
Practice of staccato on the 49th octave of the right hand in G major;
In the first 50 g minor, the right hand breaks the string and practices various combinations. A collection of 40 quick piano exercises
"Quick Etude" Etude Op. 299
/& gt； Austrian piano educator, pianist and composer Cherny created.
The first scale in c major exercises the fluency of the right hand;
The first two left hands are proficient in scale practice in c major;
The first three right-hand broken chords in C major repeat the same type;
The first four exercises of right hand continuous echo in C major;
Fifth, the right and left hands are proficient in the scale of C major;
In the first half of the year, the fingers of the right hand in C major did not even practice the sounds of each species, and they also repeated the sounds of the sound patterns;
Practice the seventh even imperfect left finger in C major and repeat the same sound form in various sound forms;
Eight comprehensive right finger exercises in c major, smooth scale arpeggio;
The right hand and fingers of the ninth C major scale, including fast-moving fingers;
10 F major, left hand finger practice, Albert bass, broken chord; Repeatedly
1 1 degree C major right hand 3 decomposition, homophone;
Article 12 of right-hand arpeggio in f major, balance exercises in unison;
B-crack 13 right-hand play, with the right time;
Practice the correct kind of echo in the article 14 in f major; c major
Right finger color style exercise15;
Article 16 manual decomposition of two tones in g major and decomposition of two tones in various phonetic forms; practice
17 F is composed of multiple parts of the right hand, and the same type repeats the independence of fingers;
Article 18 of the five fingers of the left hand in G major repeats the same business type, including stereo decomposition;
19 F, right hand arpeggio, repeat the same type of finger agility exercises;
C major, 20 right-hand decomposition stretching exercises;
C try to exercise the melody of the fingers of the left hand and right hand. Article 2 1;
Article 22 in g major, the left and right hands practice homophones repeatedly;
Article 23 mainly right-decomposed disyllabic words;
Twenty-fourth: practice with the fingers of the right hand, with double tones and three degrees;
Right hand scale ensemble in e flat major, balance and strength exercise chapter 25;
The 26 th largest right-handed Legato is timbre, phrase and speed, and 6 pairs of notes are trained indefinitely;
Practice of right-hand double-tone vibrato in the first 27 g minor;
Twenty-eight songs in c major, decomposing the octave of the hand, repeating the same type. The independence and strengthening of four or five fingers expand the fingers;
Article 29 of e-commerce, the left and right hands of flat major scale and parallel scale, staccato and three-degree double tone; No.30 in c major, including arpeggios in which the right hand divides octaves from left;
B-flat, colored right-hand bar 3 1, suitable for all kinds of fingers;
32 arpeggios in right hand horizontal C major;
Finger exercises of the right hand, including large parallel e- large article 33;
Article 34. Keep the little finger and the rhythm of the right chord in comprehensive practice, and expand rapidly;
Article 35: the right hand is inverted by eight degrees, and the left hand is a major breakthrough;
About 36 arpeggio lines in C major, reverse fast line timbre group, finger practice;
Article 37: Exercised the right hand part A beyond the high range;
Article 38 The vibrato in double G major on the right side is kept well, and the left and right hands play separately;
Article 39 Right-hand arpeggio in D flat major, including crossing hands;
In 40 F major, the fingers of the right hand, including vibrato, are well maintained.
Cherny's "30 New Piano Techniques Etudes" and 30 new research techniques Op.849 (also translated as "Piano Fluency Etudes") may be the works of "Main Piano Etudes". Call 599 to 70 to connect. However, for young piano players, whether the foundation is the best depends on the different situations of independent fingers, such as Cherny's Simple Piano Etudes Op. 139 as a transition.
It is not difficult to make these songs popular, but as the name implies, you must have a certain speed. You really need to work hard to meet this requirement. First of all, we ask students to deal with and repeat the same sound pattern learning according to different sound patterns and corresponding wrist movements on the premise of independent fingers at first-note that this is the most popular way of composing texture music in19th century.