COMPLETE

HANON
THE VIRTUOSO PIANIST IN 60 EXERCISES

EDITED BY ALLAN SMALL

 Preparatory Exercises to Acquire Speed, Pre-
EXERCISES 1- cision, Agility and Strength in the Fingers of
Both Hands as well as Flexibility of the Wrists.

EXERCISES 21-43 Further Exercises for the Development of a

Virtuoso Technique,

EXERCISES 44-60 Virtuoso Exercises for Mastering the Greatest

Part 3 Technical Difficulties.

For several years we have worked to overcome this

problem. It is our goal to combine in one book,
special exercises which make possible a complete
study of piano technique in far less time.
To attain this end, it was necessary to find a solu-
tion to the following problem: if
introduction all five

both hands were equally well-trained, they would

fingers of

be ready to play anything written, and the only

by question remaining would be that of fingering,
which could be easily solved.
The solution to this problem is our work, “The

C. L Hanon Virtuoso Pianist, in 60 Exercises.” In this book are

found the exercises necessary to gain speed, pre-
cision, agility and strength in all of the fingers as
well as flexibility of the wrists — all indispensable
qualities for fine execution. Furthermore, these
exercises are designed to make the left hand as
~: t rr.iy of the piano is now so wide-spread and skillful as the right and in addition, are interesting

:r.:s:s are so numerous, that mediocrity on to play.

.r.rrument is no longer acceptable. Conse- The exercises are written so that having read them
-sz-y. rne must study the piano for eight or ten a few times, they can be played quite rapidly and
trs :-e:o:e performing a piece of any difficulty, become excellent practice for the fingers with no
r.ïn iz i gathering of amateurs. Few are in a posi- time lost in their study. They are arranged so in
r.:r. :c ie\ote so many years to this study. It often each successive exercise, the fingers are rested from
narper.s. that for lack of sufficient practice, the the fatigue caused by the previous one. The result
r.av.r.g :s uneven and incorrect. The ieft hand gives of this is that all technical difficulties are easily
passages of slight difficulty the 4th and 5th
_n ;
executed and the fingers attain an astonishing
f_nge:s are aimost useless for lack of special exer- facility.
rses ar.d whenpassages in octaves, in tremolo or
This book is intended for all piano pupils. It may
r_s :c:u:, they are usually executed with such
be taken up after the student has studied for about
g-ea: exe:::on and strain, the performance is incor-
a year. As for more advanced students, they will
rer: ar.d exoression!ess.
learn these exercises quickly and never again exper-
ience any stiffness or technical problems.

Pianists and teachers who cannot find the time for

sufficient practice to keep up their piaying need
only play these exercises a few hours to regain
their technique. The entire book can be played
through in one hour and if, after it has been
thoroughlv mastered, it can be repeated daily for a
3e-era MiDl disk for Part I (Exercises 1-20)
while, all difficulties will disappear and that
a.a ao e (5715), which indudes a
full piano
beautiful, clear, clean execution will have been
^cyd-ng and background accompaniment. acquired which is the secret of distinguished artists.

r~ ~ VCMXC1j b>r A’frtc Pjrôjshine Co . Idc.

'vcr. rraras
2

THE VIRTUOSO PIANIST, PART 1

Preparatory Exercises to Acquire Speed, Precision, Agility and Strengtb

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

The two “Metronome Marks” (M.M.) at the head of the first exercise means to begin playing at “60” and
gradually increase the speed to “108”. Play all exercises in Part 1 in this manncr.

Excrcise 1 gives practice in stretching the 4th and 5th fingers of the lcft hand while ascending, the 4th and
5th fingers of the right hand while dcscending. I.ift the fingers high and play each note distinctly.

M M. J= 60 tol 08 C.L.HANON
4

At the bcginning 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, 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 5th 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.
6

(2-3-4) Bcfore beginning No. 3, play Kxercises 1 and 2 once or rwice wirhout stopping. When Kx. 3, 4 and
5 are rhoroughly mastered, play all rhree ar ieast four times without interruption, not stopping until the lasr
note on page 11. All exercises in Fart 1 should be practiced in rhis manner. Srop only on the last note on
pgs. 5, 11, 17, 23, 26, 29 and 32.
10
(1-2-3-4-5) l.ift the fingershigh and with precision in all exercises. This exercise prepares the pianist to play
the rrill with the 4th and 5th fingers of the right hand.
11
12

(5) For bcst results, play the exercises alreadv learned at least once daily.

6 .
13
14

( 3-4- 5 )
15
111
20
(3-4) Preparation t'or the tril! for the 3rd and 4th fingcrs of the left hand in ascending and thc right hand
in descending.
1111
 29
Extension of 1-2, 2-4, 4-5 and exercise for (3-4-5).
X

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32

lllll
 end of part 1

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 reccive every
possible advantage that these extraordinary exer-
Complete mastery of Part 1 provides the
cises offer.
key towards ovorcoming the difficulties found in
Part 2.
34

THE VIRTUOSO PIANIST, PART 2

Further Fxercises for the Deveiopment of a Virtuoso Technùjue

What the 3rd, 4th and 5th fingers of the left hand play in the first beat of each measure (A), the cor-
responding fingers of the right hand inversely repeat in the third beat of the same measure (B).
( 3-4 -5)

the exercises in Part 2 at the same tempos as in Part 1. Where no Metronome Mark is in-
Practice
dicated, begin at 60 and gradually increase the speed to 108. When a different tempo is required, it
will be indicated at the head of the exercise.
35
Practice the exercises one after another as in Part 1. In playing through the exercises. stop only on
the last note on pages 37, 41, 45, 49, 53, 56, 58 and 61.
iiiina _ Iggg ifinni
47
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58

Passing the thurab under 5th finger.

M.M. J =40 to 72.

60
62
The 12 Major and Mlnor Scalcs
Each major scale is shown with two related minor scales. One is the "harmonic minor scale’’ (see 1,
below), the other is the "melodic minor scale’’ (see 2, below).
The harmonic minor’ has a minor sixth and the leading-note both ascending and descending. The
melodic minor’’ has a major sixth and the leading-note ascending, but a minor seventh and a minor
sixth descending.
^
M. M. J =60 to 120
j
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3 «A
( 3)
 Arpeggios on ihe Triads in the 24 Key

C major. 5 3
1
M.M. • =60 to 108,
 I

Repeat this mcasure 4 times

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82
 83

As the difficulties in Part 3 can only be mastered wich a good basic technique, it is recommended thac
Parts 1 and 2 be learned thoroughly before proceeding.

End of Part 2
 THE VIRTUOSO PIANIST, PART 3
Virtunao Exerciscs for Mastcring the Greatest Tecknical Difficulties

Repeated Notes in Groups of Three

Lift the fingers high and with precision, without raising the hand or wrist. As soon as the first four
measures are learned, practice the rest of the exercise.

M.M. J=60tol20 C. L. HANON

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86

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Study the lst fingering until it is thoroughly mastered. Practice each of the others similarly, then
play through the entire exercise without stopping.
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 0

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Lift the fingers high and with precision throughout this exercise, without raising the hand or wrist.
When the first line is mastered, practice the rest of the exercise.

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 91

tFrisf Exercise Using Detached Thirds

Lift the wrists afcer each stroke, holding the arms motionless. The wrists should he flexible and the
fingers firm without being rigid. Practice the first four measures until an easy wrist movement is
achieved, then play the rest of the exercise.

lilii
 W rist Exercis< • Using Delached Sixths
Same comments as for thethirds.
 Scnles in Legato Thirds

To aehieve a smooth legaro, keep the 5th finger of the right hand on its note for an instant while the
thumb and 3rd 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 chromatic
scale further on, and in all scales in thirds.

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 Preparatory Exercise for Scales in Octaves
6
The wrists should be very flexible. The fingers playing the octaves should be held firmly but not
rigid, while the other fingers remain in a slightly rounded position.
Repeat the first three lines slowly until a good wrist movement is achieved. Then accelerate the
tempo and continue the exercise without stopping. If the wrists become tired, play slowly for a while,
then gradually increase the tempo again.
(M.M. J = 40 to84

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WM
 Scales in Octaves in the 24 Keys

Practice each ofthe scales until they can be played easily, then play through all 24 without sropping.
To play octaves rapidly and with vigor, proper wrist movement is essential. The wrist must be flexible
and not rigid.
In playing octave scales, the black keys may be played with the 4th finger. See comment to Nos. 48
and 51.

M. M. J =40 to 84
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110

Special Fingerings forthe Four-Note Trill

legato

Scales in Brokcn Octaves in the 24 Keys

Play them through without stopping. This important exercise also prepares the wrists for the study of
the tremolo.
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Repeat the first arpeggio in C until it. ean be played cleanly with good wrist movement, before begin-
ning the next in A minor.

Practice each arpeggios until they can be played very easily, then play through
of the all 24 without
stopping. The black keys may be played with the 4th finger.

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 The Tremolo
The tremolo should be played as rapidly as a roll on the drum. Practice slowly at first, gradually in-
creasing che tempo until M. M. 72. To increase the speed even more, allow the wrists to tum rapidly
from side to side. This exercise is long and difficult but the excellent results will fully repay rhe pian-
ist for his efforts. Steibelt* made his listeners shiver by his execution of the tremolo.

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*Daniel Steibelt (1765-1823) was a German pianist and composer who was highly regarded in Europe
during his life-time.
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Concluding Remarks

Now that the student has completed this book, he should be familiar with the most important tech-
nical difficulties. But in order to retain the benefits of these exercises and become a real virtuoso, he
should play through the entire book at least once a day. An hour is required to do this.

The greatest artists find it exercises daily for several hours, merely to 'keep
necessary to repeat
their technique.” It is no exaggeration, therefore, when it is suggested to the aspiring student that he
play all the exercises every day.
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Hanon’s The Virtuoso Pianist originally published in French, has been translated
„ _5uis ,

into many languages as

pianists worldwide recognized its benefits. It has become, without a
doubt, the most widely used piano technigue 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 what Hanon intended and

corrects 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 he most accurate and attractive one present-
[

ly available.

Since Hanon (1820-1900)

lived his entire life in France,
a work of a popular French
artist was deemed appropri-
ate for the cover art of this
edition. Presented here, as
a suggestive representation
of the patterns often found
in the exercises in The Virtu-

oso Pianist, is a reproduc-

tion of thework The Bees
by Henri Matisse, which dis-
plays repetitive elements
and waveforms. Matisse
created this work in the
summer of 1948.

ALFRED PUBLISHING CO.. INC. isbn o-7390-:«4:~;

A\fred 16320 Roscoe Blvd., P.O. Box 10003
Van Nuys, CA 91410-0003
www.alfredoub.com