Hanon.

THE VIRTUOSO PIANIST- Complete Piano *

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SCHIRMER'S LIBRARY y
OF MUSICAL CLASSICS y
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Vol. 925 y
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HANON
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The Virtuoso Pianist iA

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In Sixty Exercises A
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For the Piano A
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Complete: $2.50 A
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SCHIRMER'S LIBRARY
OF MUSICAL CLASSICS

C . L. H A N O N
The Virtuoso Pianist
In Sixty Exercises

For the Piano

For the Acquirement of Agility, Independence,
Strength, and Perfect Evenness in the Fingers,
as well as Suppleness of the Wrist

Translated from the French by

DR. THEODORE BAKER

Book I (Nos. 1-20) — Library Vol. 1071

Book II (Nos. 21-43) — Library Vol. 1072

Book III (Nos. 44-60) — Library Vol. 1073

Complete — Library Vol. 925

G. SCHIRMER
New York/ London

Copyright, 1900, by G. Schirmer. Inc.

Copyright, 1911, by G. Schirmer, Inc.
Copyright renewal assigned, 1928, to G. Schirmer, Inc.
Printed In flic U. S. A.
 HANON * THE FIRTUOSO- 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 so 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
 HA NON * THE FIR TUOSO- 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 maybe 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.”

ifisas
2
The Virtuoso -Pianist. ,
Part I.

Preparatory Exercises for the Acquirement of Ability, Independence,

Strength and Perfect Evenness in the Fingrrs.
N? 1.

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 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.

n T IT 4 vrvv

(1) For brevity, we shall henceforward indicate only by their figures those fingers which are to be specially trained in
each exercise; e. g., 3-4 in N9 2; 2-3-4 in N9 3, 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.
Copyright, 1900, by G. Schirmer, Inc.
15538 Copyright renewal assigned, 1928. to G. Schirmer, Inc.
Printed In the U. S. A.
 3
As soon as Ex.
1 is mastered,

go on to stop¬
without Ex. 2

on this note.
ping zst

F
(3-4) 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.

(1) The fourth and fifth fingers being naturally weak, it should be observed that this exercise, and those following it
up to N? 31, are intended to render them as strong and agile as the second and third.
1M38
 4 N? 3.

(2-3-4) Before beginning to practise N? 3, play through the preceding exercises once or twice without
stopping. When N? 3 is mastered, practise N? 4, and then N? 5, 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 p. vctised 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.

3. 1 2 5 4 3 2 3 4
1 2 5 4 3 2

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1 2

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3 12 3 4 5 3 1
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15538

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 5
N? 4.

(3_4_5) (i) Special exercise for the 3r_d> 4*1* and 5*h fingers of the hand.

15.", 3 H
6 N? 5.

(1-2-3-4-5) We repeat, that the fingers should be lifted high, and with precision, until this entire vol¬
ume is mastered.

CO Preparation for the trill with the 4th and 5th fingers of the right hand.
15538
 N? 6. 7

(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.

5
8
N? 7.

(3-4-0) Exercise of the greatest importance for the 3r^> 4(h and fingers.

1B53S
 9
N? 8.
(t-2-3-4-5) Very important exercise for all five fingers.

15538
10 N? 9.

Extension of the 4*!1 and 5^, and general finger- exercise.

a • a — — — — -
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 11

N? 10.

(3-4) Preparation for the trill, for the 3r_^ and 441 fingers of the left hand in ascending (1); and for the
3r_d and 4th of the right, descending (2).

1 5

nu
5 l •
•

. *2 . J
5 1
5_1 _ 5 1

1
- - -■■J 0 J
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J— — av«U J ^
1rf 5 15 15 F
15538
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12 N? 11.

(3-4-5) Another preparation for the trill, for the 4*!1 and 5*!1 fingers.

11.

5 3 5 3
 N? 12.

Extension of 1 - 5 ^ and exercise for 3-4-5.

13

1 5 3

CISILLI iliLOtf1.
15s 3 a4 rk 15 3
5 3

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5 3 2
 15

(3-4) Another preparation for the trill, for the and 4^ fingers.

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•
•

Vr, j _ 5

.Eirc:^
li - - -
■- — — — 0—m - —- ^ i i
f *JF F . . . . .

1 1 5 4
5 4 1 5 4 i 54 1

15538
 IB
Extension of 1-2, and exercise for all 5 fingers.

1553s
17
18

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

17.

1 « 4

15338
 19

4 3

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1 5o38
 21
Extension of 2- 4, 4-5, and exercise for 2-3-4.

20.

5 4
a i a 5 4
3 1 o

1 a 4 5 3 1 a 4 5 3
1 a 4 5 3

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 II.
15338
 22
The Virtuoso-Pianist. Part II

Transcendent Exercises for Preparing- the Fingrrs for the Virtuoso Exercises.
Observe, that the work done by the 3rh, 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 (B).
(M. M. J = 60 to 108.) C.L.HANON

(B)

l 2 :t 5_
„ 2 3 2 i 5-JLJUJLJ;
(B)
1
Z- a
(A)!
(A) 1 * -i 2 i
1
5 4 8 4 5 4 3 2 5 4 3 « d-M-

a r~-m

Practise the exercises in Part II, 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.
Copyright, 1900, by G. Schirmer, Inc. Copyright renewal assigned, 1928, to G. Schirmer, Inc.
,5') !S
Copyright renewed, 1939, by G. Schirmer, Inc.
 23

Having
tered thisfully mas¬
exercise,

5 4 without
go on tostopping on
the next

JJ * J JJ V Si
this note.

1 # » #

mimi
2

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24

Same object as N? 21. (3-4-5)

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, 29, 33, 37, 41, 44, 46, and 49.
15538
 25

15538
26

(3-4-5)

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(1-2-3-4-5): Prepares the 4*!1 and 5 th finders for the trill given further on.

13538
 35

15R8*
36

ir>!S38
15538
38

(1-2-3 -4-5) Preparation for the Trill, for all five finders.

— 2 3 4
<w

'■ acoor 1 a * ‘ ^ 1 5 4
ttctt

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 39

1
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Trill alternating' between 1-2 and 4-5.

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Turning the thumb under.

yt -
rj
Turning the thumb under the 2'id finger.

1
1R538
44

Turning the thumb under the 3r-d finger.

M.M. J - 40 to 7*

\ 3 1 1 3 1 13 1 1 3 1
\ 3 i l :{ l l 8 l 13 1
 45

Turning the thumb under the 4*!? finger.

i
M. M. J = 60 to tos.
o
Repeat this ;
measure 10 times. -
1 2 3 4 1 4 3 2
34. cJ l 2 3 4 l 4 3 2

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rrrrrm 1 4 » * *

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46

Turning the thumb under the 5th finger. This exercise is of the highest importance.

M. M. J = 40 to

(hi - — — —
4 3
/ -a -----

JJJiJ
5 1 5
Repeat this measure 10 times. 2 1 2 1 5 1 5 4
i 2

1
ri a a 5* i 5 4 a a 5 4 3 — —4
35. Vi
5 1

TT
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P - —

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151543212345 15154321 5 1 5 1 5 4 3 2 1
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1 5 1 5 4 8 2 1

15538
 47

Another example of turning' the thumb under.

36. 1 4 3 2 1 4 3 2 1 4 3
2 i 4 a
2

- 4 - 3.

:7^n
—0- H® — #— *
4 V M f-J— - 1 J ] 1 M

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0 J m J- * -

I 4 1 4
9
V- ■ 1 2 1 2 1 2
1 2 3 r "p * |* 0
4 12 3
1 O *-1 A 1 9 ‘J A 4

14 »

«1 f
I 4 14

0-
1 2
12 12 ■-
12 I 8

Play thi§ whole exercise with the two thumbs only.

(11 1*1
-arm-
- mm
m~m - ^m~
11
w
1 1 1 - 1 - 1 - 00 0
^

37.
!r u r lT:1
m
,
1 1
-m - 1- ■ - 1-

*
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is^r-f-r
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(l) Hold down these three notes with each hand without striking them, while executing these 12 measures.
1RH38
48
 5

15538
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 “melodic 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.
 H z i4

1
1553S
 2. C minor.

15538 1
1
55
 57

15638
58

.
i

TTnrj
8 1
 59

i .1 « i 3

, 2. F# minor.

1
15338
 61

8
02

Chromatic Scales.

M.M. UO to 1-40.
15538
^4 jn contrary motion, beginning on the octave.

15538
 (55
Arpeggios on the Triads, in the 24 Keys.
 I «

1553K
5
07
 68

I553S
 <*><.)

Extension (stretching') of the fingers

in chords of the diminished seventh, in arpeggios.

M M. J = 60 to 120.
tepeat this measure 4 times.

54a 21
155 as
Extension of the finders in chords of the dominant seventh, in arpeggios.
 71
I

End of Part II.

Parts I and II 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 III.
15538
72
The Virtuoso-Pianist. Part Hi
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.
, C. L.HANON
M. M. d = 60 to 1*0.

— -
•

1 4* <*-
44. 3 2 1 3 2 1 3 2 1 3 *1 3

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Copyright, 1900, by G. Schirmer, Inc.

15538 Copyright renewal assigned, 1928, to G. Schirmer, Inc.
 73

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74
Notes repeated in groups of two, by all five fingrrs.
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.

1 553N
 4 5

75

15588 .
70 The Trill
for all five fingers.
Practise the firs i. 0 measures until theyoan be executed in quite a rapid tempo; then practise the rest of the
trill. Where the fingering is changed (1), be careful that not the slightest unevenness is apparent.

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78
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.

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 79
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 until an easy wrist- movement is
obtained; then take up the rest of the exercise.
80 Detached Sixths.
Same remarks as for the thirds.
(M.M. J = 40 to H4)
Stretches from the l-l* to the 4^ fingers, and from the 2_ to the 5*!1, in each hand. 81

Very useful for increasing the stretching- capacity of these fingers.

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.

(M.M. Jz40 to 84)

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 Scales in Leg'ato 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 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 the chrormatic scale further on, and in all scales
in Thirds.
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.
At first repeat these three first lines slowly until a good wrist- movement is attained, and then accel¬
erate the tempo, continuing the exercise without interruption. If the wrists become fatigued, play more
slowly until the feeling of fatigue has disappeared, and then gradually accelerate up to the first tempo.
See remarks to NP 4S.

(M.M. 0 :M to 84)

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155 38
 87
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 N? 50.

15533
% 5
90
 Scales in Octaves in the 24 Keys. 91

First practise each of these scales until it can be executed with facility; then play throug-h all 24 with¬
out interruption.
We cannot too strong-ly 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 N2S 48 and 51.

1553K (!) In all scales in Octaves, the black keys are to be taken with the 4ti1 finger of either hand.
 93
G major
94
 The Fourfold Trill in Thirds, for all five finders.

1 2

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15538
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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.
M. M. J = «0 to 120.
C major.

15638
(i) Thoughout this exercise, take the black keys with the 4th finger of each hand.
IR53S
100
101 -
102

I558S
 103

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.
M. M. J- 40 to 72

C major. - -0- o A minor. ■* * (i>

(1) Throughout this exercise, take the black keys with the 4th finger of each hand.
15538
104

(1) As this arpeggio, and the next one in El> minor, are on black keys alone, it makes no difference whether the 4th
or 5th finger be employed.
15 538
 105

15538
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

155SS
 107

15538
 *
108 Fourfold Trill in Sixths, 1

for the combination of the 1st and 4th, and 2nd and 5th, fingers of each hand.
Neither hand nor wrist should be moved in the least while playing this exercise.

( M. M. J = 40 to 84)

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15538
(M.M. J = 40 to 84) 8
110
The Tremolo.
To properly execute the tremolo, it should be played with the same rapidity as the roll on the drum.
Fractise slowly at first; then gradually accelerate the tempo until the movement indicated (M.M.J*7a) 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.

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15538
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I I * i r i i i I -t~r~i i i i i
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.11 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.

15538
■
by ARTHUR COLD and ROBERT FIZDALE

Contemporary
Piano Exercises BASED ON

The Virtuoso Pianist

The 60 exercises by C. L. Hanon, The Virtuoso Pianist, are a classic textbook

of technical training widely used by piano students, teachers and profes¬
sionals. However, in the hundred years or so that have elapsed since these
exercises first appeared, the technical demands made on students and pi¬
anists have enormously changed and developed. Therefore, the famous two-
piano team of Gold and Fizdale has attempted to bring Hanon's exercises
up-to-date. It is hoped that Hanon Revisited will serve students and pianists
as a preparation for the increasingly complicated technical requirements of
present-day piano performance and study.

G. SCHIRMER New York/London