Czerny’s Approach to the Teaching of Posture and Touch

Ki Tak Katherine Wong

Curriculum Development Institute, Education Bureau, Hong Kong

Abstract
Posture and touch are generally recognised as fundamental aspects of learning to play the
piano. This paper explores Czerny’s main concerns about posture and touch in relation to
the musical effects required in pieces for the piano. Starting with finger movements alone,
Czerny extends his attention to the level of the elbow above the keyboard and to the
requirements and effect of arm movements in piano playing. Study of Czerny’s
explanation concerning the teaching of posture and touch and the related physical
movements in piano playing provided in his Op. 500, demonstrates that the criticism of his
pedagogical works as finger gymnastics is unjust. The discussion thus aims to show that
Czerny actually provides a full range of pedagogic training for competent piano playing
with regard to posture and touch.

Introduction
Posture and touch are generally recognised as fundamental aspects of
learning to play the piano. Study of Czerny’s explanation concerning the teaching
of posture and touch and the related physical movements in piano playing provided
in his Op. 500, demonstrates that the criticism of his pedagogical works as finger
gymnastics1 is unjust. This paper explores Czerny’s main concerns about posture
and touch in relation to the musical effects required in pieces for the piano.
Starting with finger movements alone, Czerny extends his attention to the level of
the elbow above the keyboard and to the requirements and effect of arm
movements in piano playing. The discussion thus aims to show that Czerny
actually provides a full range of pedagogic training for competent piano playing
with regard to posture and touch.

A brief review on the teaching of posture and touch

It is well known that correct posture and touch are crucial factors in good
piano playing, and it is important for teachers to help their pupils to acquire the
correct posture and touch right at their beginning of their study. However, the
significance of posture and touch did not receive much attention during the
eighteenth century, though C.P.E. Bach points out in his Essay that besides the
three essential factors in the true art of playing keyboard instruments (correct
fingering, good embellishments, and good performance), the position of the hand
is also very important. Throughout his Essay the emphasis is on fingering, and
there is no mention of either the posture of the body or the position of the hand.
This can be explained by the audience the author is addressing in his work, for in
the ‘Forward to Part One’ C.P.E. Bach’ states:

1
George Kochevitsky, The Art of Piano Playing: A Scientific Approach, (Illinois: Summy-Birchard,
1967), 4,8. Similar comments can be found in Simon Finlow, “The Twenty-seven Etudes and Their
Antecedents” in Jim Samson, ed., Chopin, (Cambridge: Cambridge University Press, 1992), 60.
 It is my aim to show the performer how he may play solos correctly
2
and thereby gain the approbation of connoisseurs.
Clearly the performers that Bach had in mind were already experienced. The first
topic in the Essay is on fingering, so not intended for beginners, and it would be
inappropriate for Bach’s readers for him to explain “the first lesson topics”, such as
where to sit, how to hold the hands, and other rudiments in such a work. Türk’s
target users, though, are quite different to those of C.P.E. Bach, and in the
“Introduction” to his School, following the discussion of the history of Klavier, the
qualities of a good keyboard teacher and the choice of repertoire for beginners, he
provides in paragraphs 41, 42, and 43, general rules of posture. These rules
include where to sit, the level of the elbows, and the shape of the fingers.3 All
these rules are essentials for beginners and helpful for teachers.

Similarly, Czerny in his Op. 500 provides helpful advice to teachers of

beginners of every age, and starts with the rudiments of keyboard playing, an
approach no doubt shaped by his experience as a successful teacher for over 30
years.4 Czerny states the rules on correct posture right at the beginning of the first
lesson under the heading, “Position of the Body, and of the Hand”, divided into the
following subsections: (i) where to sit; (ii) the height of the stool; (iii) the position of
the head; (iv) the position of the feet; (iv) the forearm; (v) the fingers; (vi) an oblique
position of the hands and fingers; (vii) where to strike on the keys; and (viii) the
nails. The rules suggested by Czerny not only reflect the playing style of his time
but are still the basis of correct piano posture today, and both the rules and their
order can be found in many present-day piano pedagogical works, such as Kendall
Taylor’s Principles of Piano Technique and Interpretation5 and Joan Last’s The Young

2
C.P.E. Bach, Essay on the True Art of Playing Keyboard Instruments, 2 vols. 1753, 1762, William J.
Mitchell, trans. & ed., (London: W.W. Norton & Company, 1949), 28.
3
Daniel Gottlob Türk, School of Clavier Playing, 1789, Raymond H. Haggh, trans., (London:
University of Nebraska Press, 1982), Preface, 6. Türk’s words are: “one should sit in front of one-
line C with the body being approximately ten to fourteen inches away from the keyboard; the elbow
is noticeably higher than the hand; the three long middle fingers must always be curved a little but
the thumb and the little finger must be held out straight; the fingers should be held a little apart
from each other, so that any stretches can be executed without motion from the hands.”
4
Three sources: (i) Carl Czerny, “Recollections From My Life”, (1842). Ernest Sanders, trans., W.
Kolneder, ed. The Musical Quarterly, XL11, No. 3, July 1956, 312-313 “I was fifteen when in 1806 my
own teaching began … I gave up teaching entirely in 1836”; (ii) Carl Czerny, Op. 500 Complete
Theoretical and Practical Piano Forte School, 1789, Raymond H. Haggh, trans., 1839, J.A. Hamilton,
trans., (London: MessRS R. Cocks & CO., 1839), Vol. I, Preface “… this Treatise, …(are) the views and
principles which I had collected during 30 years practical experience in teaching”; and (iii) John
Bishop in, “A Brief Memoir of Carl Czerny”, in Carl Czerny’s Op. 600 School of Practical Composition,
1848, John Bishop, trans., (London: MessRS R. Cocks & CO., 1848), v-vi, points out that Czerny
“became one of the most favoured and highly esteemed teachers in Vienna, and gave daily from ten
to twelve hours’ instruction, chiefly in the noblest and best families. To this occupation he devoted
himself for thirty years – from 1805 to 1835; and among his numerous pupils who have become
known to the public, are Mademoiselle Belleville, Liszt, Döhler, Pirkert, etc.”
5
Kendall Taylor, Principles of Piano Technique and Interpretation, (Kent, Novello Company Ltd.,
1981), Contents page. After Chapter I, entitled “Preliminary survey: from Bach to Beethoven”,
Taylor discusses “Posture” as the first topic in Chapter II under the title “Principles of piano
Pianist.6

Czerny’s ideal posture for hands and elbows

Czerny shows his concern for providing sufficient space for the hands to
work across the keyboard by placing it as the first rule:

The seat of the player must be placed at such a distance from the
[keyboard], that the elbows, when hanging down freely, shall be about
four inches nearer the keys than the shoulders; so that the movement
of the arms and hands over the whole length of the key-board may not
7
be impeded in any way by the chest.
Significantly, the placing of the elbows before the shoulders had not been
mentioned in C.P.E. Bach’s Essay, D.G. Türk’s School, or J.N. Hummel’s School.
This posture enables the playing of piano works which involve wide lateral
movements such as long passages ranging from the low to high registers or vice
versa; wide leaps between the two hands, playing in extreme registers, the crossing
of hands, as well as vertical movements for thick block chords in “ff”. Czerny
comments on the importance of this position:

A more than usual elevation of the hand and even of the arm...is generally
employed only in Octaves, Chords, and passages in which the notes do not
follow one another very quickly; and the Player, to enhance the effect, is often
obliged to exert a good deal of force. As in the pointed manner of detaching
the notes, employed in the Molto Staccato, the entire hand and even the
8
forearm must be lifted up …with the necessary movements of the arm.

Another significant principle regarding posture which differentiates Czerny

from his predecessors can be seen in the following quotation:

The surface of the forearm, from the elbow to the knuckles of the
bended fingers, must form an absolutely straight and horizontal line;
and the wrists must neither be bent downwards, nor upwards, so as
to resemble a ball. The preserving an exactly straight line with the
knuckles and the upper surface of the hands is one of the principle
9
requisites towards acquiring a fine style of playing.

This posture was unknown in the eighteenth century. For example C.P.E. Bach
comments on posture:

When the performer is in the correct position with respect to height

technique.”
6
Joan Last, The Young Pianist, (Oxford: Oxford University Press, 1972), Contents page. Last’s
explanation about sitting posture and the position of hand and arm appears in her First Lesson.
7
Carl Czerny, Op. 500 Complete Theoretical and Practical Piano Forte School, 1839, J.A. Hamilton, rans.,
(London: MessRS R. Cocks & CO., 1839), Vol. I, 1.
8
Ibid., Vol. III, 28-29.
9
Ibid., Vol. I & II.
 10
his forearms are suspended slightly above the fingerboard.

While Türk notes:

One must sit neither too high nor too low, but in such a way that the
elbow is noticeably higher – that is, by several inches – than the
hand. For if the hands are held as high or higher than the elbow
while playing, it is very tiring, and inhibits the use of necessary
11
strength.

Czerny’s ideal posture is obviously one appropriate to modern piano playing while
that of C.P.E. Bach and Türk suits the style of fortepiano and harpsichord playing of
the eighteenth century. Czerny’s ideas on the posture of the hands and elbows are
shared by Chopin, but not by his pupil Leschetizky. In Chopin’s “Sketch for a
Method”, he recommends an “elbow level with the white keys”,12 while Leschetizky
states that “The wrist must be held somewhat lower than the knuckles”. 13 In
general, the lowered wrist results in a softer dynamic range, since the weight of the
forearm and arm cannot be carried through the wrist to the fingers, and thus it
restricts the player from producing a forte dynamic level with ease, as well as
restricting the dexterity of the fingers. A further disadvantage of the lowered wrist
position is that it causes difficulties in crossing finger(s) over the thumb, or turning
the thumb under the fingers, because the space between the fingers and the
keyboard is reduced. Therefore, it is undesirable to teach players, especially
beginners, to form the habit of a lowered wrist. It may, though, suit some people,
especially those who are already competent in their playing. On the other hand,
with the elbows level with the keyboard, which is the most common playing
position, players are able to achieve flexibility in hand and arm movements as well
as a wide range of dynamic levels. Czerny’s explanations of such a position, quoted
above, give a clear and precise guideline which has become an accepted norm in
piano playing.

Czerny’s explanation of arm movements and touch

Similarly, the movements of the arm were rarely discussed in keyboard
pedagogical works before the nineteenth century as the focus of those works was

10
C.P.E. Bach, Essay on the True Art of Playing Keyboard Instruments, 2 vols. 1753, 1762, William J.
Mitchell, trans. & ed., (London: W.W. Norton & Company, 1949), 42.
11
Daniel Gottlob Türk, School of Clavier Playing, 1789, Raymond H. Haggh trans., (London:
University of Nebraska Press, 1982), 32.
12
Jean-Jacques Eigeldinger, Chopin: pianist and teacher as seen by his pupils, 1970, Naomi Shohet,
Krysia Osostowicz and Roy Howat, trans., Roy Howat, eds., (Cambridge: Cambridge University Press,
1986), Appendix 1, 190.
13
Malwine Brée, Leschetizky Method, T.H. Baker, trans., (New York: Haskell House Publisher Ltd.,
1902), 3. This book was issued with Leschetizeky’s approval by his assistant Malwine Brée. In the
discussion of “The Hand and Its Posture”, Leschetizky writes that “the wrist must be held somewhat
lower than the knuckles”, but he does not comment on how low the wrist should be. He also uses
two figures for illustrating the positions for the right hand and left hand. The figure for the right
hand, shows that the wrist is lower than the knuckle; but the figure for the left hand shows the wrist
is more or less level with the white keys.
mainly on the fingers. For instance, there is no discussion on the arms in C.P.E.
Bach’s Essay, D.G. Türk’s School, or even J.N. Hummel’s Instructions which was
published only ten years before Czerny’s Op. 500. This reflects the fact that
“teachers before the nineteenth century generally agreed that the action of the
fingers should be entirely independent of the hands and arms”. 14 Czerny’s
provision of explanations on the movements of the arm again clearly separates him
from his predecessors. He does not devote a chapter in Op. 500 to the movement of
the arm, but instead scatters points about arm movements throughout the work.
From his explanations, it is clear that Czerny was attempting to distinguish the use
of varied movements according to the context, such as the dynamics of a passage.
In the chapter on “Changing the fingering on the same key when re-struck”, he
points out:

Changing the fingers on the same key when re-struck in a quick

movement, the arm and the hand must be kept strictly at rest, and
particularly (the) thumb; neither the arm (nor) the elbow must be
15
allowed to make the least movement.

The movement involved in playing repeated notes in fast tempi should come from
the fingers because any other movements from the hands or arm would only
reduce the fluency of such playing.

Arm movement is also a major focus of the chapter entitled the “Fingering
of wide skips” in Volume II. Passages that contain wide skips must involve the
lateral movement from the arms. Frequent lateral movement across the keyboard
for wide skips became one of the characteristics of piano repertoire from
Beethoven onwards; thus players since that time are expected to acquire the
appropriate skills. To prepare pupils for these wide skips, Czerny points out that
“to hit wide skips with equal certainty, mere dexterity of fingers is not alone
sufficient, for this is rather the business of the arm” and he also stresses that “the
arm must meanwhile be held so lightly”. 16 Czerny recommends this light arm
especially for the passages with wide skips in fast tempi. If arm weight were
involved, the muscles of the arm would be stiff and tense, and thus the lateral
movement would become clumsy rather than flexible. As with the elevation
movement of the arms, Czerny supports his comment with four musical examples,
of which the first is shown below:

A more than usual elevation of the hand and even of the arm,

14
Glyn Jenkins/Mark Lindley, “Fingering” in Stanley Sadie, ed., The New Grove Dictionary of Music
and Musicians, (London: Macmillan, 2001), Vol. 8, 839-840. The authors add: “The rules given by
early 19th-century teachers were intended primarily to secure a quiet and steady hand position. It
was generally agreed that the arms should merely serve to convey the fingers laterally from one part
of the keyboard to another”.
15
Carl Czerny, Op. 500 Complete Theoretical and Practical Piano Forte School, 1839, J.A. Hamilton,
trans., (London: MessRS R. Cocks & CO., 1839), Vol. II, 113-4.
16
Ibid., Vol. II, 161.
 particularly in skips, is allowed here, as the Marcato is generally
employed only in octaves, chords...and as the player (has) to enhance
the effect, (he) is often obliged to exert a good deal of force, (and) be
most particularly careful to preserve a fine tone, even in the greatest
ff, so that the Martellato may not degenerate into a mere thump or
17
crash.

Example 4.1: Op. 500, Vol. III, p.28

The example illustrates Czerny’s keen awareness of the contemporary piano

repertoire as well as the varied possibilities of sound quality produced by the
employment of different physical movements. Moreover, in response to the
growing popularity of public performances in big halls from the early nineteenth
century onwards, and the need for greater volume and a more brilliant style of
playing, pianists had to acquire the character of bravura playing which must involve
that weight and elevation of the arm referred to by Czerny. As mentioned above,
Czerny aimed to develop virtuoso players, and these four examples, which consist
of Marcato octaves, chords jumping across different registers of the piano, dramatic
changes of dynamic from “pp” to “ff”, all require elevation movements of the arms
to bring out the weight of the chords and the spirit of the music.

Czerny’s discussion on the tranquil position of the hands

In addition to vertical arm movement, Czerny also discusses tranquil arm
movement. In the “Second Lesson” of Volume I, on playing repeated notes in 5-
finger exercises, Czerny points out that “the hand must here be as tranquilly(sic) as
possible over the 5 keys, so that the re-iterated percussion may be produced by the
quiet movement of the single finger.”18 With regard to the movement of passing
the thumb under the fingers, Czerny stresses, “it is the first duty of the player to
keep the hands tranquil.”19 In addition, Czerny reminds the reader that “all three-
part chords, which are to be played legato, must always be executed with changes of
fingers and a tranquil position of the hand’,20 and emphasizes the importance of
keeping the hand perfectly tranquil in playing a Fugue.21 All these instructions

17
Carl Czerny, Op. 500 Complete Theoretical and Practical Piano Forte School, 1839, J.A. Hamilton,
trans., (London: MessRS R. Cocks & CO., 1839), Vol. III, 28.
18
Carl Czerny, Op. 500 Complete Theoretical and Practical Piano Forte School, 1839, J.A. Hamilton,
trans., (London: MessRS R. Cocks & CO., 1839), Vol. I, 7.
19
Ibid., Vol. II, 5.
20
Ibid., Vol. II, 148.
21
Ibid., Vol. III, 89.
signify Czerny’s emphasis on Legato playing which gradually became the norm of
piano playing in the early nineteenth century. To keep the hands tranquil not only
helps to maintain the easy control of tone colour but also reduces unnecessary
movements and conserves energy. Significantly, this tranquil position of the hands
was also supported and taught by Chopin.22

Czerny’s refinement on finger position and touch

The position of the fingers is an issue that has been discussed by all great
masters in their writings on keyboard playing. Ever since the frequent employment
of the thumb became the norm in keyboard playing, as opposed to “the early
fingerings [that] oblige the player to orientate the right hand with some finger
other than the thumb”,23 the natural curved position of the fingers has become a
common practice. This position had also been recommended by C.P.E. Bach,24 D.G.
Türk,25 and J.N. Hummel.26

What Czerny added to the existing guidelines was a refinement. In

applying his instructions, beginners are encouraged to maintain the same part of
the fingertips when playing in different keys, so as to secure the production of tone
colours and dynamics in an easily controlled way. In addition, to maintain the
position of the fingers that forms a line with the keys while playing across different
registers of the piano, lateral movement of the arms must be employed. This
enables the hands to play freely across the keyboard and reduces the chance of
stiffness in the hand and forearm.

Furthermore, the player has to transfer the required weight from the
appropriate parts of the body to vary the touches on the keys so as to produce the
required sounds. Thus it is important to develop players’ abilities to produce
different effects and dynamic shadings by various touches. To this end, Czerny
provides examples of exercises ranging from five-finger exercises, simple double-
note exercises, scallic exercises, broken chords and arpeggios in Volume I of his Op.
500 Volume I. In Volumes II and III, which are for more advanced players, he also
gives progressive exercises with chordal textures and a mixture of different intervals
in various dynamics. The following are his examples for developing varied touches:

22
Jean-Jacques Jean-Jacques Eigeldinger, Chopin: pianist and teacher as seen by his pupils, 1970, Naomi
Shohet, Krysia Osostowicz and Roy Howat, trans., Roy Howat, ed., (Cambridge: Cambridge
University Press, 1986), 37-8. In the chapter on “Basic Technique” Kleczyński points out that the
fingering that Chopin recommends is for the purpose of preserving the even and tranquil position
of the hand during the passage of the thumb in scales and arpeggios.
23
Mark Lindley, “Fingering” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians,
(London: Macmillan, 2001), Vol. 8, 834.
24
C.P.E. Bach, Essay on the True Art of Playing Keyboard Instruments, 2 vols. 1753, 1762, William J.
Mitchell, trans. & ed., (London: W.W. Norton & Company, 1949), 42-3.
25
Daniel Gottlob Türk, School of Clavier Playing, 1789, Raymond H. Haggh, trans., (London:
University of Nebraska Press, 1982), 32.
26
Johann N. Hummel, A Complete Theoretical and Practical Course of Instructions on the Art of Playing
the Piano Forte, 1828, anon., trans., (London: T. Boosey Co., 1829), Part III, 3.
Example 4.2: Op. 500, Vol. I, p. 19

Example 4.3: Op. 500, Vol. I, p.33, No. 22

Example 4.4: Op. 500, Vol. I, p.45

Example 4.5: Op. 500, Vol. III, p.4

Example 4.6: Op. 500, Vol. III, p.121, No. 6

This progression of content, from five-finger exercises to those passages which
consist of wide ranges, is also the sequence which can be found in most of Czerny’s
pedagogical exercises and studies, such as Opuses 299, 599, 821. Czerny’s
underlying principle is to start with movements from single fingers followed by
movements for more than one finger, and gradually to add the involvement of the
wrist, forearm and whole arm.

In discussing legato playing, Czerny points out in the “Second Lesson” of

Volume I of his Op. 500 that “Each finger must be lifted up exactly at the same
moment in which the next finger strikes its key.”27 This approach to articulation
and touch distinguishes Czerny’s playing from the old paired fingering system of
the sixteenth to eighteenth centuries, as cited in Lindley and Boxall (1992) Early
Keyboard Fingering:

‘the finger which has just played should be lifted before the next one
plays’ (Santa María, 1565), and that a teacher should tell his pupil
‘never to apply the next finger until he has lifted the previous one’
28
(Mattheson, 1735).

The effects produced by these two different ways of playing are obviously quite
distinct, with a true legato being achieved only by Czerny’s approach. Throughout
his pedagogical exercises and studies, Czerny aims to develop legato playing before
the different types of staccato. It is quite interesting to see that Czerny’s approach
in this respect is contrary to that of his contemporary, Chopin, as noted by
Chopin’s student:

Chopin almost instructs the pupils to commence the five-finger

exercises playing the notes in staccato, after that a second set of
exercises consists of legato staccato, or heavy staccato, then the
accented legato, raised finger legato and finally the legato. Chopin
prefers that the notes should first be disconnected, rather than that
the hand should alter its normal position. He also at the
29
commencement causes all exercises and scales to be played staccato.

27
Carl Czerny, Op. 500 Complete Theoretical and Practical Piano Forte School, 1839, J.A. Hamilton,
trans., (London: MessRS R. Cocks & CO., 1839), Vol. I, 7.
28
Mark Lindley, and Maria Boxall, eds., Early Keyboard Fingerings, (Mainz: Schott, 1992), xiv.
29
Jean-Jacques Eigeldinger, Chopin: pianist and teacher as seen by his pupils, 1970, Naomi Shohet,
Krysia Osostowicz and Roy Howat, trans., Roy Howat, eds., (Cambridge: Cambridge University Press,
1986), 33 & 37.
Chopin’s purpose in training beginners to play staccato referred to here indicates
that he wanted to develop the normal position of the hand without changing its
position, so as to ensure the independence and equality of the fingers.30 Since this
divergence of approach focuses on the touch used for developing the skills of
beginners, the degree of difficulty that may be encountered in these two different
approaches is an issue. With the staccato touch, movements from either the wrist
or the finger must be employed. But for the legato touch, only downward
movement from the appropriate finger is needed. Therefore, it is easier for
beginners to start with a legato touch, a view confirmed by the syllabi of many
piano examinations nowadays, where participants are required to play the technical
exercises legato in lower grades, and gradually add staccato in the later grades.31

Czerny’s attitude towards mechanical aids

In developing correct posture and touch, Czerny expresses his disapproval
of mechanical aids. Some nineteenth century pianists tried to use such aids to
“attain a well-regulated facility and flexibility of fingers”.32 Such a phenomenon
was due to the growth of virtuoso playing and the ever-increasing popularity of
public concerts. Opposing this phenomenon, Czerny stated:

In modern time several mechanical aids have been invented towards

attaining a well regulated facility and flexibility of finger; to those
pupils whom from the very commencement, the teacher has
carefully and patiently accustomed to the observance of all the rules
relating to the position of the hands, the acquirement of a good
touch, and a correct mode of fingering, as those points have been
explained in this School, we consider such machines as useless on
the following grounds:
1st because a long use of them must necessarily be relaxing both to the
mind and to the feelings.
2nd because they consume a great deal of time.
rd
3 because they are by no means well adapted to increase the love of the
art in young pupils and amateurs.
4th lastly because they fetter by far too much, all freedom of movement,
33
and reduce the player to a mere automation.

Clearly, Czerny is confident that with proper training according to the rules
suggested in his Op. 500, pupils would be able develop flexible fingers, and thus
have no need of mechanical aids in their training. Significantly, he also points out
that such aids would limit players from performing with feeling, and even worse

30
Ibid., 17, 32 & 33.
31
See, for example, The Associated Board of the Royal Schools of Music, Scales & Arpeggios Piano,
Grade 1, Grade 2, Grade 3, Grade 4, Grade 5, Grade 6, Grade 7, Grade 8, (London: AMRSM Publishing,
1994). Candidates for Grades 1 to 6 are required to play in legato; for Grade 7, they can choose to
play the scales in either Group 1 or 2 in both legato and staccato; and for Grade 8, all the scales have
to be played in legato and staccato.
32
Carl Czerny, Op. 500 Complete Theoretical and Practical Piano Forte School, 1839, J.A. Hamilton,
trans., (London: MessRS R. Cocks & CO., 1839), Vol. III, 129.
33
Ibid.
that they could cause permanent damage to the hands or fingers. The well-known
case of Schumann is a chilling reminder of the danger of such devices and
supports Czerny’s foresight.

Conclusion
In conclusion, Czerny’s contributions to the discussion of posture and
touch in piano playing not only summarize the ideas of his predecessors but also
highlight the crucial factors in the development of a modern piano technique. His
instructions are not only clear but also well supported with sequenced exercises.
Czerny’s approach is still valid today, being reflected in many current instruction
books on piano playing.

About the Author

Ki-tak Katherine Wong, curriculum development officer of Education Bureau of Hong Kong SAR,
acquired her Ph.D. in Musicology in 2008 at the University of New South Wales (UNSW) of
Australia. She specializes in the 19th century piano pedagogy with particular interest in the seminal
works by Carl Czerny. Her research area also covers music analysis, music history, and music
education such as the teaching and learning of creative music making.

Contact details

Dr Ki Tak Katherine Wong

Curriculum Development Officer (Music), Education Bureau, Hong Kong Special Administrative
Region

Personal mail box: PO Box 38138, Hing Fat Street Post Office, Tin Hau, Hong Kong
email address: kkitak@hotmail.com

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Instruments. William J. Mitchell (Trans.), (1949). New York: W.W. Norton.
Bishop, John. (1848). A Brief Memoir of Carl Czerny. In Carl Czerny, School of
Practical Composition (pp.v-vi). John Bishop (Trans.), (1848). London: MessRS R.
COCKS & Co.

Brée, Malwine. (1902). Leschetizky Method. T.H. Baker (Trans.), New York: Haskell
House Publisher Ltd.

Czerny, Carl. (1839). Opus 500 Complete Theoretical and Practical Piano Forte School.
J.A. Hamilton (Trans.), London: MessRS R. COCKS & Co.

Czerny, Carl. (1842). “Recollections From My Life”. Ernest Sanders, trans., W.

Kolneder, ed. The Musical Quarterly, XL11, No. 3, July 1956, 302-317.

Eigeldinger, Jean-Jacques. (1970). Chopin: Pianist and Teacher as Seen by His Pupils.
Shohet, K. Osostowicz, and R. Howat (Trans. & Eds.) (1986), Cambridge:
Cambridge University Press.

Finlow, Simon Robert. (1992). The Twenty-seven etudes and their antecedents. In
Jim Samson (Ed.), Chopin. Cambridge: Cambridge University Press.

Hummel, Johann. N. (1829). A Complete Theoretical and Practical Course of

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