HANON ¥* THE VIRTUOSO- PIANIST PREFACE. ‘The study of the piano is now-a-days so general, and good pianists are so numerous, that mediocrity on this instrument is no longer endured. In con- sequence, one must study the piano eight or ten years before venturing to perform a piece of any difficulty, even at a gathering of amateurs. Now, how few persons are in a position to devote so many years to this study! It often happens, therefore, that for want of sufficient practice the playing is uneven and incorrect. The left hand gives out in passages of slight difficulty ; the fourth and fifth fingers are almost useless for lack of special exercises for these fingers, which are always weaker than the rest; and when passages in octaves, in tremolo or trills occur, they are usually executed only by dint of exertion and fatigue, so that the performance is very incorrect and wholly wanting in expression. For several years we have labored to overcome this state of affairs, mak- ing it our aim to unite in one work special exercises which render possible a complete course of pianistic study in far less time. To attain this end, it sufficed to find the solution of the following problem: If all five fingers of the hand were absolutely equally well trained, they would be ready to execute anything written for the instrument, and the only question remain- ing would be that of fingering, which could be readily solved. We have found the solution of this problem in our work “The Virtuoso- Pianist, in 60 Exercises,” etc. In this volume will be found the exercises necessary for the acquirement of agility, independence, strength and perfect evenness in the fingers, as well as suppleness of the wrists—all indispensable qualities for fine execution; furthermore, these exercises are calculated to ren- der the left hand equally skilful with the right, Excepting a few exercises, to be found in several methods, the entire book is our personal work. These exercises are interesting, and do not fatigue the student like the generality of five-finger exercises, which are 6o dry that one requires the perseverance of a true artist to summon up courage to study them. ‘These exercises are written in such a manner that, after having read them a few times, they can be played in quite a rapid movement; they thus becomeHANON ¥* THE VIRTUOSO- PIANIST PREFACE.—Continued. excellent practice for the fingers, and one loses no time in studying them. If desired, any of these exercises may be played on several pianos simul- taneously, rousing a spirit of emulation among the students, and habituating them to ensemble-playing. All descriptions of difficulties will be met with. The exercises are so arranged, that in each successive number the fingers are rested from the fatigue caused by the one preceding. The result of this combination is, that all mechanical difficulties are executed without effort or weariness; and, after such practice, the fingers attain to astonishing facility of execution. This work is intended for all piano-pupils. It may be taken up after the pupil has studied about a year. As for more advanced students, they will study it in a very short time, and will thereafter never experience the stiff: ness which may have been previously felt in fingers or wrists; this will render them capable of surmounting the principal mechanical difficulties. Pianists and teachers who cannot find time for sufficient practice to keep up their playing, need only to play these exercises a few hours in order to regain all the dexterity of their fingers. This entire volume can be played through in an hour; and if, after it has been thoroughly mastered, it be repeated daily for a time, difficulties will disappear as if by enchantment, and that beautiful, clear, clean, pearling execu- tion will have been acquired which is the secret of distinguished artists. Finally, we offer this work as giving the key to all mechanical difficul- ties. We therefore consider that we are rendering a real service to young pianists, to teachers, and to the directors of boarding-schools, in proposing their adoption of our work, “The Virtuoso-Pianist.””2 The Virtuoso-Pianist. Part I. Preparatory Exercises for the Acquirement of Agility, Independence, Strength and Perfect Evenness in the Fingers. Ne1. Stretch between the fifth and fourth fingers of the left hand in ascending, and the fifth ana fourth fin- gers of the right hand in descending. For studying the 20 exercises in this First Part, begin with the metronome set at 60, gradually ing the speed up to 108; this is the meaning of the double metronome-mark at the head of each exercise Lift the fingers high and with precision, playing each note very distinetly increas- (LM d= 60 to 108) C. L. HANON. () For brevity, we shall henceforward indicate only by their figures those fingers which are to be specially trained in each exercise; €.g., 8-4 in NO 2; 2-8-4 in NO 3, ete. Opserve that, throughout the book, both hands are continually executing the same difficulties; in this way the left hand becomes as skilful as the right. Besides, the difficulties executed by the left hand in ascending, are exactly copied by the same fingers of the right hand in descending; this new style of exercise will cause the hands to acquire perfect equality.3 [As soon as Bx. 1 is mastered, 0 on to Fx.2 without stop- ping on this note = sarrr tf Te TF ‘Noa. @ aia (3-4) When this exercise is mastered, recommence the preceding one, and play both together four times fhout interruption; the fingers will gain considerably by practising these exercises, and those following, in this way. o ese aaae| 125 () The fourth and fifth fingers being naturally weak, it should be observed that this exercise, and those following it up to NO 1, are intended to render them as strong and agile as the second and third.4 No3. (2-8-4) Before beginning to practise N° 3, play through the preceding exercises once or twice without stopping. When N23 is mastered, practise N24, and then N25, and as soon as they are thoroughly learned play through all three at’ least four times without interruption, not stopping until the last note on page 6. The entire work should be practised in this manner, Therefore, when playing the numbers in the First Part, stop only on the last note on pp. 3; 6,9, 12,15, 18, and 21 = z SS | eeSrras? boaNo 4. (3-4-5) (f) Special exercise for the 3d, 4th and 5th fingers of the hand. sas6 NOS. (-2-8-4-5) We repeat, that the fingers should be lifted high, and with precision, until this entire vol- ume is mastered. Beso aes | 1 & 5 5 ) Preparation for the trill with the ath and bth fingers of the right hand.Ne6. u (5) To obtain the good results which we promise those who study this work, it is indispensable to play daily, at least once, the exercises already learned. SRPratet parerst et F 5No7, (3-4-5) Exercise of the greatest importance for the 3% 4th and 5 ore. Poatatat & Foazsis%NOB, (1-2-8-4-5) Very important exercise for all five fingersie Nog. Extension of the 4th and 5th, and general finger-exercise.Ne10. a (3-4) Preparation for the trill, for the 3% and 4th 3fd and 4th of the right, descending @) fingers of the left hand in ascending (1); and for the 10. ees eaes| ‘eh Be azaes Is) = Sas press te st Bt 5a Non. 3-4-5) Another preparation for the trill, for the 4th and 5th fingers. ef) Same: letNo12, a Extension of 1-5, and exercise for 3-4-5.eae were =| retest . 7 abeda oo 2 ae15 (6-4) Another preparation for the trill, for the 3° and 4th fing renee | ean16 Extension of 1-2, and exercise for all 5 fingersExtension of 8-5, and exercise for 3-4- v718 Exteusion of 1-2, 2-4, 4-5, and exercise for 3-4-59 d-2-8-4-5) 18. 1248 Agha see o Tet pae ft Past Fresrea3 520 4-2-8-4-5) 19. ogee | 42 Extension of 2-4, 4-5, and exercise for 2-3-4 12455342 20. oge, + Byrrese* Frerese* saete 4 Srre Tessa east t2a58 Tease P End of Part I. After having mastered this First Part, play it through once or twice daily for some time before commencing the study of the Second (“transcendent”) Part; by so doing, one is sure to obtain every possible advantage that this work Promises. Complete mastery of Part I gives the key to the difficulties found in Part I” The Virtuoso-Pianist. Part II Transcendent Exercises for Preparing the Fingers for the Virtuoso Exercises. Observe, that the Work done by the 3°, 4th and 5th fingers of the left hand in the first beat of each meas- fare (A) is. repeated inversely by the same fingers of the right hand in the third beat of the same measure (B). (aL Md = 60 t0 108.) C.L.HANON Practise the exercises in Part J, like those in Part I, with the metronome at 60: sis ing exercises where the tempo is not indicated, and gradually i is required, it will be indicated at the head of the exercise. rly practise all the follow- ease the speed to 108. Wherever a different tempo28 Having fully mas- tered this exercise, goon to the next without stopping on this note, 724 Same object as Practise the exercises of this Secon Part as we directed for Part I (top of p.4); thus, in playing through the exercises, stop only on the last notes on pp. 24, 29, 38, 87, 41, 44, 46, and 49.2526a72829380 -2-8-4-5)31az3334 (4-2-8-4-5): Prepares the 4th and 5th fingers for the trill given further onEy36 Toa aaa3738 (1-2-8-4-m) Preparation for the Trill, for all five fingers. o 29. ae 540 Trill alternating between 1-8 and 4-5.4142 (1-2-3-4-8, and extensions) t545 45254 BeBe ttsTurning the thumb und Turning the thumb under the 214 finger. MM d = a0t07 toners Repeat this measure 4 times —=—* = Tere ier 32. Agiziererire c Leperererer: ges ea Mererer erat? prt rel = eee BERR? See sy ates“4 ‘Turning the thumb onder the 3° finger. = Ato 78 Repeat this measure 4 times 33.4) eYrererrrery 71323 432 Prrerierrery| Sees baer tet res re)Turning the thumb under the 4!2 finger. M.M.d = Ho to108 Repeat this measure 10 times 4 34. eg es46 Turning the thumb under the Sth finger. This exercise is of the highest importance. MM, ds a0te 7. o Repegt this measures times || 35. Pot 7 5 t 2 Perrasrresas oretoager 6 foioager 6 FST aseL Ppreaeer 5 t5ioaser 6 15168 % oTstoa 5 T 5 | 515% 1 1s NBisaa2iezas isisaser Apusager47 Another example of turning the thumb unde Special exercise for turning the thumb under. Play this, whole exercise with the two thumbs only. aa Baha. as = = Se ae 37, ©, , r,s a (A) Hold down these three notes with each hand without striking them, while executing these 18 measures.48 Preparatory exercise for the study of scales.4950 The 12 Major Scales, and the 12 Minor Scales. Each major scale is followed by its relative minor, There are two ways of playing the minor scale; we thought it best to give them here after each major scale, leaving it to the instructor to teach them as he sees fit. We mark by a figure 1 the first (modern) minor scale, also termed the “harmonic minor scale,” and by a figure 2 the second (ancient) minor scale, also termed the “melodie minor scale.” We know, that the modern or harmonic minor scale has a minor sixth and the leading. note both a- scending and descending; whereas the ancient or melodic minor scale has a major sixth and the leading note is ascending, and a minor seventh and minor sixth in descending. MM. d= 60 to 120, 1 siS - C major.F major. =52 Bb major. 2.G minor.E> major. 2.C minor. SS 28 12ad Ab major. 1. F minor.1. es D> major, 1. Bb minor. z 23h et 2. Bb minor.2. E> minor.1, G# minor. 2. G#minor.E major. 1. C4 minor.A major.D major. 1. B minor. 2.B minor,1. E minor. 2.E minor. 61& Chromatic Scales. MM, 0 to 120. At an octave, ‘eer ahAt a major sixth. At a minor sixth,64 In contrary motion, beginning on the octave. 2 aba 343 3 ae eee In contrary motion, beginning on the minor third, babe 34) In contrary motion, beginning on the major third. sreabe singin a gs ante Another fingering, which we particu- ereres larly recommend for legato passages. tet fireweseee| TeArpeggios on the Triads, in the 24 Keys. C major. MAM, # = 60 to 108. A minor, | relative to Cmajor,* 8 es |, Dimajor. i fl 2 =67 G> major. E> minor. B major. E major. Cz minor.A major. E minor.Extension (stretching) of the fingers on in chords of the diminished seventh, in arpeggios. MoM. d= 60 to120. epeat this measure 4 times, Te jase aeMat. d= 60 to 120. Repeat this measure I times, A times. TeasPatt 5 End of Part Il. ' Parts I and I of this work being the key to the difficulties in Part Ill, it is evidently very important that they should be thoroughly mastered before commencing the virtuoso studies contained in Part Il.us The Virtuoso-Pianist. Part II Virtuoso Exercises, for Obtaining a Mastery over the Greatest Mechanical Difficulties. Notes repeat in groups of three. Lift the fingers high and with precision, without raising hand or wrist. As soon as the first four meas- ures are well learned, take up the rest of the exercise. C.L.HANON ALM. d= 60 to 120, aa! i sarserserser| os spaesepreee dag dagdd dag ddgddgcag@haagdagdaqaay Ferseiseraer { simile | oa ee cercerooy Pr ea et74 Notes repeated in groups of two, by all five fingers. Study the first fingering until it is thoroughly mastered;- practise similarly each of the five following finger- ings then play through the whole exercise without stopping: Accent the first of each poof sured notes, : (ua, d 60 to 108) eS simite = > 2 > Bee 45. at fingerings| © PET ETS siitesimile = 6th fingering, : * similewy The Trill for all five fingers. Practise the firsi 6 measuresuntii thyrean be executed in quite a rapid tempo; then practise the rest of the trill, "Where the fingering is changed (), be careful that not the slightest’ unevenness is apparent. sMM.@= 60 to 10s) ag eae djadadaddgngaged ay a3 4g 12a aa a4 od PorstocalorebeceMrsricordrericx as Te = a te F It is of interest to note that Mozart used this exercise for the study of ag } COLE EEL” PoP alpha? ers a Bae gurseacszaig is ‘SPaPaPaPevoreper VaeaiaedtNotes repeated in groups of four. Lift the fingers high and with precision throughout this exercise, without raising hand or wrist.When the first line is mastered, and not before, take up the rest of the exercise. u.a.d= 60 to 180)Wrist - exercise. ae Detached Thirds and Sixths. Lift the wrists well after each stroke, holding the arms perfectly quiet; the wrist and the fingers firm without stiffness. Practise the first four measures until an ea obtained; then take up the rest of the exercise. OLM, d =40 to a) aaa hould be supple, -movement is 4 3 es simile 222 zsimile ¥ —3-3 3 3 simile —_4_80 Detached Sixths. Same remarks as for the thirds. GUM, #240 to 84)81 Stretches from the 18 to the 4" fingers, and from the 24 to the StH, in each hand. Very useful for increasing the stretehing-capacity of these fingers. GEM, J 260 to 105) 2 2 5 4 8 2 2 2 # t= simile zazreas Continuation, of the preceding exercise. MMos 60 tot) 2 22 8 _— Stile82 . Legato Thirds. We recommend careful study of this exercise, as Thirds occupy a very important place in difficult music. All notes must be struck evenly and very distinctly. to sa)ie Scales in Legato Thirds, It is indispensable to practise scales in legato thirds. To obtaip a smooth te- gato, keep the filth finger of the right hand foran instant on its note while the thumb and 34 finger are passing over to the next third; in the left hand, the thumb is similarly held for an instant. Notes to be held are indicated by half- notes.()Proceed similarly in thechrormatic scale further on, and in all scales in Thirds. 240 to 84) E 3 . a | 5 Chromatic scales in minor third: (a4.M.d= 40 to 84)84 Preparatory Exercise for Scales in Octaves. ‘The wrists should be very supple, the fingers taking the octaves should be held firmly but without stiffness, and the unoccupied fingers’ should assume a slightly rounded position. ‘AU first repeat these three first lines slowly until a good wrist- movement is attained,and then accel~ erate the tempo, continuing the exercise without intecyption. If fhe, write become fatigued ply, more slowiy'ne “the feeling’ of fatigue hos” disappeared, and then gradally” accelerate up oh Test tempo e remarks to NO 45. (tat, d 240 to 4)86Scales in Thirds, in the Keys Most Used. 87 Play these scales legato, and very evenly; it is highly important to. master them thoroughly. See remarks to NO 50. © major. > 2k MM. 4 a mal i G major. 2 i ay 2Ir.89Scales in Octaves in the 24 Keys. OL First practise each of these scales until it can be executed with facility; then play through all 24 with out interruption We cannot too strongly insist on the absolute necessity of a proper wrist-movement; it is the only means of executing octaves without stiffness, and with suppleness, vivacity and energy. See the explanations for NOS 48 and 51 MM ds a0 t0 6 — C major. A. minor. F major. D minor, B> major. + @ In al seates in Octaves, the black keys are to be taken with the 4th finger of either handC minor, F minor. Db major. BS minor.93 te tte te te Gb major. Eb minor. G4 minor. C# minor.94 A major. ats - ae z F4 minor, t tte = D major. B minor. 8 G major, ze E minor. 295 The Fourfold Trill in Thirds, for all five fingers. Exeoute this exercise very smoothly and evenly, striking each Third very clearly tat. ds a0 t0 92) aa96 Same remark as for NP 54, Wea. dean tae tt ——==, = het martath * 5 *97 Pave ate ben mareato98 Special fingerings for the fourfold Trill, Teonto. 4 a 4 4 > i = Scales in Broken Octaves, in the 24 Keys. Play them through without stopping. This highly important exercise likewise prepares the wrists for the study of the tremolo. MM d= 0 to 120, © major. & | 56.A minor. F major. the I~ te 1 z 7 Fess - D minor. & ee ~ + * Bb major. were G minor. (© Thoughout this exercise, take the black Keys with the 4th finger of each hand.100 Eb major, > minor, 8 Ab major, - gust F mi nner: aot bi Db major. Bb minor, 8.101 G> major. | ly Eb minor. of Gé minor. C# minor, 8A major. - ra z F# minor. te# a —_——_—_ g3s3? D major. 8 (pee B minor. 8.103 Broken Arpeggios in Octaves, in the 24 Ke: To begin with, practise the first arpeggio in C. which must be played cleanly and distinctly, with a good wrist-movement, before passing to the next in minor. Similarly practise each of the 24 arpeggios; then play them all through without interruption. MoM. dz a0 to 72 major. A minor. 2 te Begg 22 57. F major. @& 2. o 21 G minor, waees fe Eb major. @ ge : C minor, ‘2 8. we ‘7 © Throughout this exercise, take the black keys with the 4th finger of each hand104 F minor. Ab major. 2 Bb minor, 2 fe Eb minor, 8 2 fe at re ® As this arpeggio, and the next one in Eb minor, are on black Keys alone, it makes no difference whether the 4th or bth finger he employed.105 E major. Cé minor. F# minor. E minorg. 2106 Sustained Octaves. accompanied by detached notes. Strike the octaves vigorously without lifting the wrists, and hold them down while deftly executing the in- termediate notes with a good finger-movement Moat d= 60 to 92 ten. simile, 4 7 58. simile. 3 3 |s BMbassams Fourfold Trill in Sixths, for the combination of the Ist and 4th, and 2nd and 5th,fingers of each hand. Neither hand nor wrist should be moved in the least while playing this exercise CML M. d= a0 to 8a)109 Gtat. d <0 to 84) Bo simile 4838 5 simileno The Tremolo. To properly execute the tremolo, it should be played with the same rapidity as the roll on the drum. Fractise slowly at firsts then gradually accelerate the tempo until the movement indicated (M.M.d-72) is reached. Finally, by oscillations of the wrists, the rapidity is still further augmented up to the tempo of the drum-roll, This etude is long and difficult: but the excellent result will fully repay the pianist for the trou- ble and fatigue encountered. Steibelt made his hearers shiver by his execution of the tremolo. erne erese.13 eel ‘e a tempo pp perdendosiConcluding Remarks fow that the student has practised this entire volume, he is acquainted with the chief mechanical dil culties; but, if he would enjoy the fruit of his toil, and become a real virtuoso, he ought to play this entire book through every day for a certain time; only in this way can he familiarize himself with these great dif- ficulties. An hour is required to play the book through The greatest artists find it necessary to repeat daily exercises for several hours, merely to “keep up their playing.” We should not, therefore, be accused of exaggerating the matter when we require of a student aspiring to true virtuosity, that he should play these exercises through every day.