The Virtuoso -Pianist. Part I. Preparatory Exercises for the Acquirement of Agility, Independence, Strength and Perfect Evenness in the Finger: NeL. Stretch between the fifth and fourth fingers of the left hand in ascending, and the fifth and 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 increas- 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 distinctly. C.L. HANON. () For brevity, we shall henceforward indicate only by their figures those fingers which are to be specially trained in each exercise; €..,3-4 in NO 2; 2-3-4 in NO 8, etc Observe 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.As soon as Ex. 4 is mastered, go on to Ex 2 without stop- ping onthis note, t be te ts Nea. wD al (8-4) When this exercise is mastered, recommence the preceding one, and play both together four times without interruption; the fingers will gain considerably by practising these exercises, and those following, in this way. © Bresso’ Poe eat US ts Pr = fr bay oF (1) The fourth and fifth fingers being naturally weak, it should be observed that this exercise, and those following it up to N@ 8, are intended to render them as strong and agile as the second and third.4) Before beginning to practise N° B, play through the preceding exercises once or twice without stopping. When N28 is mastered, practise NO 4, and then N°, 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. 8, 6,9, 12,15, 18, and 21 3 saa6| t25an2 wera? SeasNo. (3-4-5) (#) Special exercise for the 3¢d, 4th and Sth fingers of the hand.Ne5 (4-2-8-4-5) We repeat, that the fingers should be lifted high, and with pr me is mastered. ision, until this entire vol- tga sseey Srirase) paarsee? s 5(8) To obtain the good results which we promise those who study this work, it is indispensable toplay daily, at least once, the exercises already learned. 1passses | 1 bes aos 1(3-4-5) Exercise of the greatest importance for the 341 4t8 and 5th fingers 7. 43243548 | 132435 43 / 1 BPerais* Ssaeats* 5(1-2-8-4-5) Very important exercise for all five fingers. topes toes | easeExtension of the 4th ° (hand 5th, and th, and general finger-exercise ass 12824958 | 12 2 2 tai? BEPrest? of os(8-4) Preparation for the trill, for the 3% and 4th fingers of the left hand in ascending (1); and for the 4 and 4th of the right, descending (2. 10. teag ea | ees i) Fresacae Braras ss 51 Pas 5 Oy $ a 5 @ 5 :(8-4-5) Another preparation for the trill, for the 4th and 5th fingers. 1254 sos | 25Extension of 4-5, and exercise for 3-4-5. cae ior ney(3-4-5)(3-4) Another preparation for the trill, for the 3% and 4th fingers. arExtension of 1-2, of 1-2, and exercise for all 5 fi 5 fingers, 1b. aoe 2s | 1 es BParrtet att Boazet?! paca te!Extension of 3-5, and exercise for 3-4-5.(1-2-8-4-5) 18. ¥] Parst2as gant sae ft sae 419. tseasas baa sees ri Berriaa: Sraers 4?Extension of 2-4, 4-5, and exercise for 2-3-4 Peessass | eae Petes End of Part I. Afier 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Transcendent Exercises for Preparing the Fingers for the Virtuoso Exercises. Observe, that the work done by the 34, 4th and 5th fingers of the left hand in the first beat of each meas- ure (A) is repeated inversely by the same fingers of the right hand in the third beat of the same measure (8) (MLM. d = 60 to 108) Practise the exercises in Part Il, like those in Part I, with the metronome at 60; similarly practise all the follow~ ing exercises where the tempo is not indicated, and gradually increase the speed to 108. Wherever a different tempo is required, it will be indicated at the head of the exercise.beaghe aes rl : eg 2 £ os 5 Zs hop ett bz 1 + 2 raer o% a4 Le 1‘ 1 ¢. Sai Sct, oe Saeete i I +, ie Te Te vr = Having fully mas- = SH tered this exercise, 0 on to the next as An ‘Without stopping on this note.Same object as N° 21. (3-4-8) Practise the exercises of this Second 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, 20, 83, 27, 41, 44, 46, and 49.(3-4-5) 23. Sa 2 as a rz crt aa © pias aae sg 5 5(1-2-8-4-5) 2 381 aoe aes 26. aara eo ao 8 aLees 3428 saan s asassazs| .y(4-2-8-4-5) Preparation for the Trill, for all five fingers. 29. paseaaaz?e FH aad 3 4 a a4 5 4 a of‘Trill alternating between 1-2 and 4-5(1-2-8-4-5, and extensions) 15453525I ot Turning the thumb under. ‘Turning the thumb under the 2%4 finger. azeetes 48 Mat d - aotore Repeat this meagore 4 times 32. PeYeSeTererey Lgsgezeetere lee [EIEXEEIE = eae ft) EF fr Brareveter? Preeereesss, SRrrreneters +*°Turning the thumb under the 3° finger. MM. d~ s0t0 72 Repeat this measure 4 times. 33. azaraetzarae taeegeeeenas T7331 aaa aah Pe Ggaradiae tes Petes tats Ber Areata sabes) oyer aah a3 43Turning the thomb under the At! finger M.M.d = Goto 10 Repeat this meastire 10 times. 34. peasTurning the thumb under the Sth finger. This exercise is of the highest importance. ‘MLM. d = 40to 72. 35 Repeat this measure tings | 2 mieeealit oT " Byenerasss cotcager 5 toneeaze = =& FST Sae fereaear & otetsaee, 8 METER . 15154 Abisaseiesas tsisazer 5 tsisaser 5 t5sssoe4 S| isisAnother example of turning the thumb under, a ' T Special exercise for turning the thumb under. Play thig, whole exercise with the two thumbs only. ae — ae Hold down these three notes with each hand without striking them, while executing these 12 measures.Preparatory exercise for the study of scales.The 12 Major Scales, and the 12 Minor Scales. Each major scale is followed hy 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 “melodic minor scale. We know, that the modern or harmonic minor scale has a minor sixth and the leading- note both a- seonding 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. J = 60 to 120. ‘ i 8 5 € major. Tae2.D minor.Bb major. 1. G minor. a 2.G minor.E> major.Ab major. 1. F minor. 2. Fminor.Ds major. 1, Bb minor. 2. Bb minor. _5 ee Gb major. 2. Eb minor,1. Gt minor. 2. G#minor. 2 ak1. C# minor. ae ee} 2. CH minor.1, Fé minor,2. B minor,2.8 minor.Chromatic Scales. MLM. 60 to s20. At an octave. a1 at 13h a a1 ty 13At a major sixth, Sree a e138In contrary motion, beginning on the octave. Baa 2 pe oy 3h 3 2 1 frie pao ee eas 34,3. a vie grey ts te Tn entrar moto, ean on he mio hie ee bea eaiete eee a1 gyhh 34a 9 at ? oe siis SAS aha 2 In contrary motion, beginning on the major third ete zie pa aps ait by aba g sass 2343 Another fingering, which we particu- larly recommend for legato passages. 234 423 440 3h 2d a3 843g Bat 4342 4432Arpeggios on the Triads, in the 24 Keys C major. MM. 4 60 t0 108, Al. A minor, 7 relative to major, Fmajor, D minor. etE> major.Gb major. 1 a : sae & ‘C4 minor.5Extension (tretching) of the fingers in chords of the diminished seventh, in arpeggios. MM. d= 60 to 18 tepeat this measure 4 times.asl Extension of tae fingers in chords of the dominant seventh, in arpeggios ‘ 5 sat, d=60 tor20. Repeat this measure 4 times. bat paa et 5eae End of Part It. Parts 1 and Il of this work being the key to the difficulties in Part III, it is evidently very important that they should be thoroughly mastered before commencing the virtuoso studies contained in Part IIT.Part Ill. Virtuoso Exercises, for Obtaining a Mastery over the Greatest Mechanical Difficulties. Notes repeated 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. MLM, 4 = 60 to 120. simile sas Bet bed terme ra rea tet“ 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. the first of each pair of slurred not 60 to 408) =a Se SS eee 45. Fingering: T2T% 3 fingeringth fingeri STST 8 te simile sth fingering. t 1 Pen ee >>> F Ens S‘The Trill for all five finge Practise the first 6 measuresuntiltheycan, be executed in quite a rapid tempo; then practise the rest of the trill. Where the fingering is changed (1D), be careful that not the slightest unevenness is apparent. ad 40 to 105)ae te = that Mozart used this exercise for the study of the trill. Thalberg's trill. Sytggergeaiazarg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. umd: 60 to 120) simile aggiagzia 4Wrist - exercise. Detached Thirds and Sixths. Lift the wrists well after each stroke, holding the arms perfectly quiet; the wrist should be supple, and’ the fingers firm without stiffness. "Practise the first four measures uatil an easy wrist- movement’ ig obtained; then take up the rest of the exercise oat, d 240 10.84) ia 4 ZAG Eoimite _§ aDetached Sixths. Same remarks as for the thirds. (EM, d 240 to 84)r Stretches from the I8t to the 4'® fingers, and from the 24 (o the 5th, in each hand. Very useful for increasing the stretching- capacity of these fingers. LAM J £60 to 108) Bgazizas Contnetin of he preceding exercise. sl So ageneLegato Thirds We recommead careful study of this exercise, a Thirds occupy a very important place in difficult music, All notes must be struck evenly and very distinetly. CmMadea0 to 84) eee : 8Je 5, 4 5 * 3 4 5 Scales in Legato Thirds. It is indispensable to practise scales in legato thirds. To obtain a smooth le- gato, keep the fifth finger of the right hand for an instant on its note while the thomb and 32 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.d)Proceed similarly in thechrormatic scale further on, and in all scales in Thirds. 0 to 84) Chromatic scales in minor thirds. gfPreparatory Exercise for Seales 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. ‘AL first repeat these thiee first lines slowly until a good wrist- movement is attained,and thn accel erate, he tempo, continuing the exercise without interruption. TE the wrists become fatigue play more Slowly until the’ feeling off fatigue. has disappeared, and then gradually’ accelerate up (o the fiist tempo. See remarks to NO 44. coum. d z20 to 84)iHScales in Thirds, in the Keys Most Used. Play these scales legato, and very evenly; it is highly important to master them thoroughly. See remarks to NO 50, Rs i 3 C major. nat deao toxajor. Am? e : < Fm20Scales in Octaves in the 24 Keys. 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 NO 48 and 51. MoM. d - 40 to wa, So C major. Bb major. (A) Im all scales in Octaves, the black keys are to be taken with the 41M finger of either hand.Bb minor. &Ebminor. GE minor. C# minor.# F¥ minor. G major, E minor.The Fourfold Trill in Thirds, for all five fingers. Execute this exercise very smoothly and evenly, striking cach Third very clearly. at. d:40 to 92) 28The Threefold Trill. ‘Same remark as for N94. MoM. dz a0 to 92 a» 55. co ber mareathSha aat sa ben marcatoSpecial fingerings for the fourfold Trill. legato. 4 eres’ 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=60 t0 120. a © major. 2 56.Special fingerings for the fourfold Trill. Tegat PRES! ee srses _————_ 5 3 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=60 to 120. © major. - 56.Bb major, G minor. 7 gh F 4) Thonghout this exercise, take the black keys with the 4th finger of each hand.Eb major. Ab major. Db major.Gb major. B major. G4 minor. £ E major. 7 ui C# minor,A major. F# minor. z 33 D major. & B minor. 8. G major. i gE minor, -f- Leite Broken Arpeggios in Octaves, in the 24 Keys. 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. d= a0 to A minor, Bb major. Eb major. oF C minor, o_—_ oF: wF (1) Throughout this exercise, take the black keys with the 4th finger of each handF minor. Ab major. Db major. 98 G> major. Eb minor, | 9. ® GE minor, ¥ D As this arpeggio, and the next one in Eb minor, are on black keys alone, it makes no difference whether the 4th of 5th finger be employed.jor. CH minor. E major. | ¢...... — # minor. « F# minor. o—tet_2 2 tes B minor. E minor, ‘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 ds 60 to 92.Fourfold Trill in Sixths, for the combination of the Ist and 4th, and 2nd and Sth,fingers of each hand, Neither hand nor wrist should be moved in the least while playing this exercise (MM, dsa0 to 8a)ae ag 48 a z 49 tq 1 OM M, d= 20 to 8a) 8 4 BA g simile a8 $4 gE A simile5 The Tremolo. To. properly execute the tremolo, it should be played with the same rapidity as the roll on the drum Practise slowly at first, 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 étude 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 exeroea tempo pp perdendosioe ot Concluding Remarks. Now that the student has practised this entire volume, he is acquainted with the chief mechanical _diffi- 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.