Archive for February, 2021

Edition Peters: Piano, Pedagogy, Studies and the Influence of Carl Czerny

Guest post by Christian A. Pohl, Professor of Piano and Piano Methodology, Head of Piano Department, University of Music and Theatre ‘Felix Mendelssohn Bartholdy’ Leipzig 

The start of the nineteenth century saw a seismic shift in the world of domestic keyboard playing as the piano rapidly displaced the harpsichord and clavichord as the instrument of choice in homes across Europe. Seizing on this new opportunity, a series of piano instruction methods were swiftly published, followed by methods and studies over subsequent generations that covered the rudiments of piano playing, technique and performance practice. A huge number of these studies are represented in the Edition Peters Piano Catalogue.

Major names in the field of piano pedagogy were quickly established – including Beyer, Burgmüller, Hanon and Clementi – but it was one who followed behind them that arguably defined the shape of piano pedagogy for generations to come. Indeed, even today – nearly 200 years after this educational “meteorite” first struck the German-speaking piano world – the waves of his impact are still being felt. There is no getting around Carl Czerny when it comes to pianistic exercises or didactic approaches to building a virtuoso pianist.

Carl Czerny

Czerny’s lifetime was shaped by three phases or key words: Beethoven, pedagogy and composition. Beethoven had already established a considerable reputation in Vienna when, in 1800, a certain nine-year-old boy – Carl Czerny – made such an impression on the composer that he took him on as a pupil. This pupil became a colleague, and an apprentice relationship became a friendship, which – unusually for Beethoven – lasted right up to the composer’s death.

It is hard to imagine what the encounter with Beethoven must have meant for the young musician: how the intensive, decades-long contact with one of the greatest geniuses in music history must have affected his own artistic formation. It can be assumed that Czerny not only played all of Beethoven’s works, but also to some extent contributed to their development with Beethoven. However, although he was extremely talented as a pianist and could have pursued a career as a virtuoso, the young Czerny decided, on the advice of his father, that he would instead pursue a career as a teacher.

The second phase of Czerny’s life was characterized by an almost inhuman teaching workload, where he taught 10-12 hours a day for more than 20 years. The fruits of this labor decisively shaped the pianistic development of all subsequent generations and continue to have a major influence on pianists today. Just as Johann Nikolaus Forkel attests in his Bach biography that the compositional mastery of the St. Matthew Passion could only be achieved amidst a backdrop of an enormous corpus of works, so, too, does this reasoning applies to Czerny. Thanks to his exceptional educational talent, Czerny produced a multitude of students, including Liszt, Kullak and Leschetizky, whose educational lines extend to the present day and are associated with legendary names such as Van Cliburn, Artur Schnabel and Leon Fleisher.  It is only when we understand what kind of influence Beethoven made on Czerny, and what educational impact Czerny then went on to achieve, that his piano pedagogical work can be properly assessed and adequately appreciated.

In the third and final phase of his life, from 1836 to his death, countless compositions and educational works were created, including Czerny’s iconic études. These works do not claim to be mentioned in the same breath as the musically outstanding études by Chopin or Liszt, since they are largely designed for a different pianistic level and with a focus on the training aspect. Yet they are so musically composed that they bring real pleasure both to listen to and to play.

Czerny’s études are an almost inexhaustible source of inspiration for pianists and piano teachers, isolating and condensing musical and technical skills into a series of attractive musical miniatures. For these, and for so much more, we remain evermore indebted to this pedagogical and musical giant.

How to Make Your Own Virtual Choir

Make your own virtual choir performance in just 8 steps. This guide includes tips for planning the project, recording participant tracks, and editing the submissions into a final performance ready to post and send. For related technology and tools, visit Sheet Music Plus.

You’ve seen them everywhere online: grids of iPhone videos of people singing together in chorus. From Broadway stars and professional choral groups to church and community choirs and even ad hoc regional and global networks of singers, the defining group music making moment of the decade so far is…

VIRTUAL CHOIR

Here we’ll walk you through what a virtual choir is and give you a step-by-step guide to creating your own, whether for the choir you regularly sing with or direct, or for a new group of singers you’ve brought together for a specific project.

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How to Start to Learn Guitar Solos

Guest post by Leo Nguyen, founder of Six String Tips

Playing guitar solos is one of the highest aspirations a guitar player can have. We’ve all heard amazing guitar solos that are so inspiring that they make us want to do whatever it takes to be able to play them, right?

You may be in a situation where you don’t know where to start or how to have a better understanding of how guitar solos work. Keep reading and you will find really cool concepts that will make a difference in how you approach them!

1. What are guitar solos anyway?

To begin with, we can say that guitar solos are instrumental parts, and as such they provide a great opportunity for the guitar to abandon the accompaniment role and be more of a leader.

Guitar solos fulfill a really important role in the song. (No… not to show off, man!) In any song with vocals, the song gets to certain points where a vocal break is needed, noot only from the singer/vocalist’s perspective (to rest), but also for the sake of song construction.

Imagine if you hear a song with no instrumental gaps: it would be terrible! But guitar solos can give those breaks, and keep the song interesting at the same time. That’s why we need to make sure they are well crafted.

There are a great number of different possibilities in solos, but something we know for sure is that guitar solos always need to be aligned with the style of the song.

What kinds of solos are there?

Melodies – Some solos are basically melodies: a melody already used in the song, or a new one, is presented in a highly expressive and embellished way.

Improvisation – There are cases where guitar solo sections are basically left to the interpretation of the player at a specific time. (This mostly happens in live situations.) 

Continue reading ‘How to Start to Learn Guitar Solos’


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