617

THE VIRTUOSO PIANIST IN 20 EXERCISES

EDITED BY ALEAN SMALE

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 To attain this end, it was necessary to find a solu-
tion to the following problem: if all five fingers of
both hands were equally well-trained, they would
be ready to play anything written, and the only
question remaining would be that of fingering,
which could be easily solved.

The solution to this problem is our work, “The

Virtuoso Pianist, in 60 Exercises.” In this book are
found the exercises necessary to gain speed, pre-

introduction
e all )
cision, agility and strength in all of the fingers as
well as flexibility of the wrists—all indispensable
qualities for fine execution. Furthermore, these

y
exercises are designed to make the left hand as
skillful as the right and in addition, are interesting
to play.

C. L. Hanon The exercises are written so that having read them

a few times, they can be played quite rapidly and
become excellent practice for the fingers with no
time lost in their study. They are arranged so in
each successive exercise, the fingers are rested from
The study of the piano is now so wide-spread and the fatigue caused by the previous one. The result
good pianists are so numerous, that mediocrity on of this is that all technical difficulties are easily
this instrument is no longer acceptable. Conse- executed and the fingers attain an astonishing
quently, one must study the piano for eight or ten facility.
years before performing a piece of any difficulty,
even at a gathering of amateurs. Few are in a posi- This book is intended for all piano pupils. It may
tion to devote so many years to this study. It often be taken up after the student has studied for about
happens, that for lack of sufficient practice, the a year. As for more advanced students, they will
playing is uneven and incorrect. The left hand gives learn these exercises quickly and never again exper-
out in passages of slight difficulty; the 4th and 5th ience any stiffness or technical problems.
fingers are almost useless for lack of special exer-
Pianists and teachers who cannot find the time for
cises; and when passages in octaves, in tremolo or
sufficient practice to keep up their playing need
trills occur, they are usually executed with such
only play these exercises a few hours to regain
great exertion and strain, the performance is incor-
their technique. The entire book can be played
rect and expressionless.
through in one hour and if, after it has been
For several years we have worked to overcome this throughly mastered, it can be repeated daily for a
problem. It is our goal to combine in one book, while, all difficulties will disappear and _ that
special exercises which make possible a complete beautiful, clear, clean execution will have been
study of piano technique in far less time. acquired which is the secret of distinguished artists.

Second Edition
Cover art: The Bees
by Henri Matisse (French, 1869-1954) Copyright © MCMXCII by Alfred Publishing Co., Inc.
Musée Matisse, Nice, France
All rights reserved. _ Printed in USA.
Copyright 1992, Succession Henri Matisse/ARS, New York
 THE VIRTUOSO PIANIST, PART |
Prep aratory Exercises to Acquire Speed, Precision Agil ity an d Strength
’

in the Fingers of Both Hands as well as Flexibility of the Wrists.

(M.M.) at the head of the first exercise means to begin playing at
<6 0
The two ‘Metronome Marks
9?
and
gradually increase the speed to “108”’. Play all exercises in Part 1 in this manner.

E xercise 1 gives practice in stretching the 4th and Sth fingers of the left hand while ascending, the 4th and
Sth fingers of the right hand while descending. Lift the fingers high and play each note distinctly.

M.M. @ = 60 to 108 C.L. HANON

@,

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a

(Descending)

As soon as

go on to 2 with-
out stopping
on this note.
 At the beginning of each exercise, the numbers within the parentheses indicate the fingers which receive
special training.

Notice that throughout the book, both hands receive similar practice because the problems the left hand
has in ascending are executed by the right hand in descending. The hands will b) therefore, acquire equal
dexterity.

(3—4) When this exercise is mastered , play 1 and 2 four times together without stopping. Your technique
will be improved substantially by practicing all the exercises in this manner.
The 4th and Sth fingers are naturally weak. It is the purpose of this exercise and those up to No. 31 to
make them as strong and agile as the 2nd and 3rd.

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(2-3 -4) Before beginning No. 3, play Exercises 1 and 2 once or twice without stopping. When Ex. 3, 4 and
5 are thoroughly mastered, play all three at least four times without interruption, not stopping until the last
note on page 6. All exercises in Part 1 should be practiced in this manner. Stop only on the last note on
pes: 3, 6 | 9 2 ] ee LO 18 and 21.

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(3-4 -5) Exercise for the 3rd, 4th and Sth fingers.
(t- -3-4-5) Lift the fingers high and with precision in all exercises. This exercise prepares the pianist to play
5

the trill with the 4th and 5th fingers of the right hand.

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10

Cd Syme. -4-5) Extension of the 4th and Sth fingers.

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 11

(344) Preparation for the trill for the 3rd and 4th fingers of the left hand in ascending and the right hand
in descending.
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12

(3-4-5) Another preparation for the trill, for the 4th and Sth fingers.

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 13

Extension of 1-5 and exercises for (3-4-5).

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Tn ne Se oe __a——""_ ae

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= 69 We eee ee ed 7 Vea VSeeeaes
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14
(3-4-5)
 15
(3-4) Still another preparation for the trill, for the 3rd and 4th fingers.

fa SET seteneee -gotatane | guteneer ase Cras

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16
Extension of 1-2.

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Bl SMR ee ee Sa Ree ay Pe wr
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 17
Extension of 3-5 and exercise for (3-4-5).

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SS 1G a Se ee ee ee ee es ee
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18

Extension of 1-2, 2-4, 4-5 and exercise for (3-4-5).

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 19

(192-3-4-5)

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20

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 Extension of 2-4, 4-5 and exercise for (2-3-4).

————
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”ABy HMB Ap ABR Rash 1 a ||} |= }—_} tae

he tt Pt ee —$ +
SS MS SS ee 0 ee
ee = eas epee
ana Ee —— = st — |
—_—

After having mastered Part 1, play it through once

or twice daily for some time before beginning Part
2. By doing so, the pianist is sure to receive every
possible advantage that these extraordinary exer-
cises offer. Complete mastery of Part 1 provides the
key towards overcoming the difficulties found in
Part 2.
22 Excerpt from

THE VIRTUOSO PIANIST, PART 2

Further Exercises for the Development of a Virtuoso Technique

What the 3rd, 4th and Sth fingers of the left hand play in the first beat of each measure (A), the corre-
sponding fingers of the right hand inversely repeat in the third beat of the same measure (B).
(3-4-5)
C.L. HANON
M.M. + =60 to 108

(Ascending)
1 2.3.2

—— SS Se Se EE

1 2 d 1 2

AE Ee. Fy
ee [ae | a eae
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an ea ec

tee oe

Practice the exercises in Part 2 at the same tempos as in Part 1. Where no Metronome Mark
is indicated
begin at 60 and gradually increase the speed to 108. When a different tempo
at the head-of tic execs po isi required, it
it will
wi be indicated
indi
 23

(Descending)

Mm oe OO OO ee
Far! SASS]
eae awa as es a ei ae es
rai Se| |

—— ——_—— —

era ne EI la a |
A
aw B _ yy See" MN ee
tS ae I ria a2 Be a2 PTi | Pf zB
alk
i2
= 4
Gedo

As soon as Nos. 2] and

22 are mastered, goon
to 22 without stopping
on this note.
24

(3-4-5)
—Y

(om
3 a
fe ee ee ee ee
22.
Pe eSE Sere prePaee! pap ane Ase Som
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123 5 3
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Ssen ae Sears &

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bee ee =eee

continued in The Virtuoso Pianist, Part 2

$3.95 in USA

harles-Louis Hanon’s The Virtuoso Pianist, originally published in French, has been translated
into many languages as pianists worldwide recognized its benefits. It has become, without a
doubt, the most widely used piano technique book ever written.

Previous English translations, however, were not done particularly well. They were translated word-
for-word by music editors, not experienced translators, which resulted in a stilted style and left
Hanon’s instructions somewhat obscured. This translation clarifies wnat Hanon intended and cor-
rects errors that previously misdirected pianists to play the exercises in incorrect sequences. Also,
because of old engravings, many other editions have an unpleasant, blurred appearance. This
easy-to-read edition, from new engravings, clearly displays the music and fingerings. Alfred has
tried to make this edition of The Virtuoso Pianist the most accurate and attractive one presently
available.

Since Hanon (1820-1900)

lived his entire life in
France, a work of a popu-
lar French artist was
deemed appropriate for
the cover art of this edi-
tion. Presented here, as a
suggestive representation
of the patterns often
found in the exercises in
The Virtuoso Pianist, is a
reproduction of the work
The Bees by Henri
Matisse, which displays
repetitive elements and
waveforms. Matisse cre-
ated this work in the sum-
mer of 1948.

———
a
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whe
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Alfred
ALFRED PUBLISHING CO., INC., 16380 Roscoe Blvd., P.O. Box 10003, Van Nuys, CA 91410-00v.