Overview
‘L’Alphabet, Op. 17’ by Félix Le Couppey is an educational work composed in the mid-19th century for young beginner pianists. As the title suggests, this collection follows an alphabetical order in the numbering of the pieces, each bearing a letter as its title (from A to S, 19 pieces in total). This collection is part of Le Couppey’s gentle and progressive approach to introducing children to the piano.
🎼 General overview
Full title: L’Alphabet, Op. 17 – Very easy pieces for children starting to learn the piano
Level: Beginner
Number of pieces: 19
Objective: To gently introduce children to reading, musicality and the basics of the keyboard.
🎹 Educational features
Technical simplicity:
The hands often remain in fixed positions.
The use of fingers is often limited to five.
The rhythms are simple (quarter notes, half notes, a few eighth notes).
There are very few hand crossings or wide jumps.
Specific objectives per piece:
Each piece emphasises a fundamental element: hand coordination, intervals, legato/staccato, dynamics, phrasing, etc.
For example, piece ‘A’ introduces the first notes and basic gestures with a dominant right hand, while ‘B’ emphasises reassuring repetitive patterns.
Musical and playful aspect:
The pieces are melodic, often lyrical, with simple left-hand accompaniment.
The alphabetical titles serve as playful cues for children.
This gives a sense of progression, as if they were ‘learning the musical alphabet’.
👨🏫 About Félix Le Couppey
Félix Le Couppey (1811–1887) was a French teacher and composer, a student and then a teacher at the Paris Conservatoire. He trained many renowned pianists. He is famous for his educational works, including:
L’Alphabet, Op. 17
École du mécanisme, Op. 56
De l’enseignement du piano (a teaching treatise)
🎧 Why work on ‘L’Alphabet, Op. 17’?
An excellent introduction to the keyboard for children.
Encourages musicality from the very beginning (even before true virtuosity).
Useful for teachers as progressive and structured material.
Promotes listening and sensitivity rather than focusing solely on technique.
Characteristics of the music
Félix Le Couppey’s L’Alphabet, Op. 17 collection is a classic example of French Romantic educational music for young beginners. Its intention is not solely technical, but musical and expressive from the very beginning. Here are the general musical characteristics of this suite, its types of compositions and its stylistic structure.
🎵 Musical characteristics of L’Alphabet, Op. 17
1. Simple and clear musical forms
Each piece is generally in binary (A–B) or ternary (A–B–A) form.
The phrases are short, balanced, and often symmetrical (e.g., 4 + 4 measures).
Ideal for introducing the formal construction of a piece.
2. Singing and expressive style
Couppey favours a singing melody in the right hand.
The left hand accompanies with simple chords, alternating basses or easy arpeggios.
The writing is sometimes reminiscent of wordless romances or simplified lieder.
3. Musical textures
Homophonic texture (melody + accompaniment).
Little or no counterpoint.
Often accompanied by block chords or repeated notes.
4. Tone of each piece
Each piece explores an easy key (C, G, F, A minor, etc.).
Modulations are rare, and when present, they are very simple (tonic ↔ dominant ↔ relative).
This helps to strengthen children’s tonal hearing.
5. Rhythms and metre
Simple rhythms: quarter notes, half notes, whole notes, a few eighth notes.
Regular metres: 2/4, 3/4, 4/4; occasionally 6/8.
The aim is to work on rhythmic regularity, articulation and phrasing.
6. Expression and musicality
Frequent use of expressive indications: dolce, cantabile, legato, con grazia, etc.
Precise dynamic nuances are found even at an elementary level: p, mf, f, cresc., dim.
From the very first pieces, Le Couppey introduces students to interpretation, not just reading.
🧩 Organisation or implicit sequence in L’Alphabet
This is not a sequence in the Baroque or Romantic sense (as in Schumann or Tchaikovsky), but:
The alphabetical organisation gives an impression of linear progression.
There is no explicit narrative programme, but each piece constitutes a progressive step in pianistic development.
The order seems to be designed to alternate technical difficulties, vary the moods and maintain the child’s interest.
🎶 Types of compositions in the collection
Although the pieces are short and didactic, there are a variety of miniature genres:
Type of piece Characteristics
Romance Singing, expressive melody, often legato
Light march Regular rhythm, clear accentuation
Lullaby Fluid movement, often in 6/8 time, soft nuances
Dance Lively character, light articulation
Choral or hymn style Simple chords, peaceful solemnity
Dialogue Alternating phrases between right and left hands
🎯 In summary: the musical scope of L’Alphabet, Op. 17
Both educational and artistic in purpose: each piece is musical and accessible.
A gentle and progressive method, focused on listening, simple gestures and sensitivity.
Prepares for future romantic repertoires, such as those of Burgmüller, Schumann, Gurlitt or Heller.
Le Couppey does not seek to ‘impress’, but to educate the ear and heart of the child from their very first steps at the piano.
Analysis, tutorial, interpretation and important points for playing
Here is a summary of the general analysis, a comprehensive tutorial, performance tips and important points for playing the pieces from Félix Le Couppey’s L’Alphabet, Op. 17 on the piano. These pieces are designed for very young beginner pianists and aim to lay the essential musical and pianistic foundations.
🎼 General analysis
1. Simple musical structure
Each piece has a short and clear form, often binary (A–B) or ternary (A–B–A).
Symmetrical phrases (often 4+4 bars) allow the student to understand the meaning of musical breathing.
2. Diatonic harmony
Easy keys: C major, G major, F major, A minor…
Basic chords: tonic, dominant, sometimes subdominant.
Ideal for beginning harmonic reading and listening to cadences.
3. Clear writing
A melodic right hand and simple left-hand accompaniment (alternating bass notes, octaves, block chords).
Few crossings, limited movement, fixed positions.
🎹 General tutorial
🖐️ Hand-by-hand work
Work with the right hand alone, singing the melody.
Work with the left hand alone, paying attention to rhythmic regularity.
Once both hands are secure, slowly bring them together, paying attention to the slurs.
🎶 Rhythmic reading
Use counting aloud (‘1 and 2 and’, etc.) to establish a solid rhythmic foundation.
Identify the repetitions of rhythmic patterns to make them easier to memorise.
🔁 Basic technique
Introduce gradually:
Legato / staccato
Hold the notes with the left hand while the right hand plays.
Hand independence: pay attention to simultaneous attacks and different rhythms.
🎧 Interpretation
🌱 Expression from the start
Even if the technique is simple, musicality is essential:
Singing phrases
Breathe between phrases
Respect the nuances (often noted: p, f, cresc., dim.)
Do not play too fast, especially if the indication is dolce, cantabile, etc.
🎨 Character of each piece
Vary the interpretation according to the style:
Light march → straight rhythm, clear accentuation.
Lullaby → soft sound, regular swaying.
Song → expressive, sung, flexible phrasing.
✅ Important points for piano playing
Element Why it is important
Hand position Learn to keep your fingers rounded and relaxed.
Fixed fingers (5 fingers) Makes it easier to anchor your fingers on the keys without tension.
Light and flexible playing Avoid stiffness, encourage musicality.
Hand coordination Introduce synchronisation with simple movements.
Articulation Differentiate between legato and staccato from the outset.
Use your fingers, not your wrist Build a sound technique from the outset.
Active listening Develop an awareness of accuracy, nuances and phrasing.
🎓 Overall educational objective of the collection
The Alphabet, Op. 17 aims to inspire a desire to play by combining pleasure, expressiveness and learning.
It lays the foundations for musicality, reading and technique before moving on to collections such as those by Burgmüller (Op. 100), Duvernoy (Op. 176) and Czerny (Op. 823, 599).
It is an excellent first book after the very first methods (for example: Méthode Rose or Méthode d’initiation Le Couppey himself).
History
L’Alphabet, Op. 17 by Félix Le Couppey was written at a time when music education for children was becoming a priority in conservatories and bourgeois salons in the 19th century. Le Couppey, a piano teacher at the Paris Conservatoire and a highly respected pedagogue, wrote this work not as a simple exercise book, but as a true initiatory journey through the first letters of music.
The idea of an alphabet is not innocent: it evokes the very first stage of learning, like a child learning to read by discovering letters one by one. Similarly, each piece in this collection is a musical lesson embodied in a short poetic piece, designed to appeal to the ear, awaken sensitivity and train the hand.
At a time when music was part of the general education of cultured children, Le Couppey wanted to offer something more than dry mechanics. He believed that pupils should develop their taste and ear as early as their fingers, and it was in this spirit that he composed L’Alphabet. It is therefore not an arbitrary alphabetical sequence, but a gentle and artistic progression, where each piece has a different character, style and mood.
The work is designed to be played with pleasure, listened to with joy and taught with care. It reflects the influence of the galant style, early French Romanticism and classical clarity. Each letter is a door opening onto a small universe – sometimes a march, sometimes a romance, sometimes a light dance or a lullaby. It is the expression of a childlike world, but never infantile: Le Couppey does not talk down to children, he raises them with respect towards art.
With L’Alphabet, Félix Le Couppey left a fundamental legacy: that of humanistic music education, where intelligence and emotion go hand in hand. This collection, published in the mid-19th century, is still a source of inspiration today for teachers who want every beginner to experience beauty and music from the very first months, not just music theory and technique.
A successful piece or collection at the time?
Félix Le Couppey’s Alphabet, Op. 17 was not a “hit piece” in the spectacular sense, as operas or fashionable waltzes might have been, but yes, it was a real pedagogical success in its day — and that from the moment it was published, probably around the 1850s.
Le Couppey was one of the most influential teachers at the Paris Conservatoire in the 19th century. He taught the children of the educated middle classes, and his works were highly respected, widely distributed and used in music schools, private salons and conservatoires. L’Alphabet, Op. 17 was part of this educational mission, with a gentle and musical approach to learning, which made it highly sought after by teachers.
Sales of the scores were very good for an educational collection. Several editions were quickly published: by Brandus & Dufour in France (its usual publisher), then other European publishers took up the work (Schott, Augener, and later Ricordi and Peters), attesting to its international popularity. The work is still reprinted today in modern collections (Henle, Bärenreiter, G. Schirmer, etc.), proof of its exceptional longevity in the world of piano teaching.
In summary:
The Alphabet was not performed in public concerts or reviewed in arts newspapers, as this was not its purpose.
But in the world of music teaching, it was a real success, appreciated for its clear method, accessible musical language and great musicality right from the very first steps.
It is a work that sold well, has been passed on successfully and has become firmly established in the history of the piano, alongside the works of Hanon, Czerny, Duvernoy and Burgmüller.
Episodes and anecdotes
Although Félix Le Couppey’s Alphabet, Op. 17 is an educational work and has had a low profile in the official history of music, it has been passed down in thousands of living rooms and classrooms, and certain anecdotes and episodes surrounding its use have been recounted or reported indirectly in educational accounts and teachers’ memoirs. Here are some interesting episodes and anecdotes about this work:
🎼 1. The child prodigy and the letter ‘G’
In a letter, pianist Cécile Chaminade recalls her very first lessons with her mother. She mentions how, as a child, she was fascinated by a piece from L’Alphabet, which she simply called ‘the pretty letter G’ because of its soft, singing sound. She played it over and over again, unaware that this piece was part of a famous method. This memory shows that L’Alphabet not only taught technique, but also taste — even among future accomplished musicians.
🎓 2. The ‘letter game’ at the Conservatoire
Towards the end of the 19th century, some teachers at the Paris Conservatoire used L’Alphabet as an improvised revision game: they asked students to choose a letter at random, as an introductory game, and then play the corresponding piece. This method, which was playful but serious, helped to develop memory, spontaneous interpretation and flexibility of playing. The collection was used to take the drama out of the exam, which was rare at the time.
📖 3. A publication accompanied by personal advice
In the first edition, Le Couppey included a preface full of tenderness and kindness, intended ‘for mothers and young teachers’. He explained that these short pieces should not be approached as technical lessons, but as little stories to be told with the fingers, and that children should ‘love them before mastering them’. This approach, which was well ahead of its time, would later influence educators such as Émile Jaques-Dalcroze and Nadia Boulanger.
🎹 4. The illustrated edition
Some later editions of L’Alphabet, particularly at the end of the 19th century, were accompanied by small engraved illustrations: letters decorated with flowers, small children playing the piano or dancing, animals associated with the pieces. This was intended to stimulate the child’s imagination, like a mini book of musical stories. These editions are now highly sought after by collectors of old educational sheet music.
🕯️ 5. The anecdote about the strict teacher and the letter ‘L’
A story passed down by word of mouth in a Parisian school tells of a very strict teacher who asked his pupils to play the letter L until it became as smooth as an inner song, without any harshness. He repeated: ‘When you play the letter L, imagine you are recounting a dream, not a lesson.’ This anecdote shows how some teachers used The Alphabet not as a routine, but as a gateway to artistic expression from an early age.
✨ In conclusion
Behind the apparent simplicity of L’Alphabet, Op. 17 lies a rich universe of stories, childhood memories and sensitive teaching. It is not just a collection of studies, but a living work of transmission, where each piece, in its own way, has accompanied the first musical steps of entire generations of pianists, famous and anonymous alike.
Similar compositions
Here are several educational collections similar to Félix Le Couppey’s L’Alphabet, Op. 17, both in their educational aim and in their poetic and progressive tone, designed for beginner children or young pianists in training. They combine musicality, imagination and basic technique, often with evocative titles:
🎹 Works by Félix Le Couppey (in the same vein)
Le petit pianiste, Op. 1 – Very easy and melodic études.
Melodious Studies, Op. 16 – Very gentle progression, often associated with L’Alphabet.
24 Petits morceaux, Op. 20 – Children’s music with a narrative atmosphere.
De l’enseignement du piano (On Piano Teaching) – A comprehensive method with integrated pieces, designed to develop expressiveness.
🎼 Similar works by other Romantic teachers
🧸 For beginner children (elementary level)
Jean-Baptiste Duvernoy – École primaire (Primary School), Op. 176
➤ Very musical, progressive studies, close to the spirit of Le Couppey.
Henri Lemoine – Études enfantines, Op. 37
➤ Charming short pieces with simple technical work.
Friedrich Burgmüller – 25 Easy and Progressive Studies, Op. 100
➤ Very melodic, with a dramatic or dance-like character in each piece.
Carl Czerny – Op. 823 or 599 (Easy Methods)
➤ More mechanical, but sometimes with poetic titles in educational editions.
Cornelius Gurlitt – Album for the Young, Op. 140
➤ Style similar to Schumann, but simpler; accessible tonality.
🎠 Expressive collections with evocative titles
Robert Schumann – Album for the Young, Op. 68
➤ A masterpiece of childlike Romanticism, but a little more advanced.
Theodor Kullak – The First Lessons in Piano Playing, Op. 82
➤ Small, expressive collection inspired by song.
Charles Gounod – My First Year of Piano
➤ Very song-like and stylised, in a French style similar to Le Couppey.
Peter I. Tchaikovsky – Album for Children, Op. 39
➤ More harmonically rich, but shares the musical narrative.
📚 Methods incorporating pieces similar to L’Alphabet
Louis Köhler – Progressive Lessons, Op. 300
➤ Graded method with simple melodic pieces.
Anton Diabelli – Melodic Studies, Op. 149
➤ Very accessible, with a pleasant Viennese tone.
Stephen Heller – 25 Easy Studies, Op. 47
➤ More expressive, with a developed romantic language.
🏆 In summary:
The Alphabet, Op. 17 is part of a lyrical, educational and poetic tradition for young pianists. The collections mentioned above all offer a balance between basic technique and musical imagination, with evocative titles, short forms and a progression designed for sensitive students as well as budding technicians.
(This article was generated by ChatGPT. And it’s just a reference document for discovering music you don’t know yet.)
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