Hanon 60 exercícios - o pianista virtuoso

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1. The Virtuoso-Pianist.
Part I.

Preparatory Exercises for the Acquirement of Agility, Independence,
Strength and Perfect Evenness in the Fingers.
NOL

Stretch between the {ith and fourth fingers of tho left hand in ascending, and the fifth and fourth fin-
ers of the right hand in descending.

For studying tho 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 motronome.mark at the head of each exercise

Litt the fingere high and with precision, playing each note very distinctly

CL. HANON,
ana J 601 108) i

Pa)

©) For droit, we hall heneforward indicate oy by Wir Figures those Fingers which are (o be specially rime in
ach re 0.8.3.4 in NOL; 2-33 in NOB, le
‘Oteerve thal throughont the book, both hands are conta executing the same di

Penner

es in his way the et and
ecos an si ae Um eight. asis, he diffcaiesemeeted By te If hand in ascending, are exactly copied By the
‘some Fingers of tho right hand in descending, this mew style of oncles Will cano the Dando to acpure Pl equality.

4. oa

@-4-9 (9 Speci the 306, ath and Sth fingers of

y

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Ei

EN
+
E
E
E

E
i i
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10. ‘ 5 5 bo ‘

rires Pe ere es |
AAA AA Se Reue AAC

Be | PaaS

12. or figeeets 2 el

Css ÍA Het sites EE "test

13. =)

16. |

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LE
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il

19. ESTA

=

TAR
Ea ES

ii

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21. Transcendent Exercises for Preparing the Fingers for the Virtuoso Exercises.

364 alt and th fingers of the left hand in the first beat of each meas:

Observe that the work done by th
fingers of the right hand in the third beat of the same measure (8).

re repeated inversely by the sa

Practise the exercises in Part I, like those in Part I, withthe metronome at 60; similar practise all the follow
ing exercises where the tempo Is not indicated, and gradoully Increase the speedo 108. Whereter a diferent tempo
precede e ere re

25. Aepete

satesetastieen te, ieteactenitesste

28. eee Beöskreitäepetereketst elöhesterstersten,

29. FFIR 53

kette

31. | fe de son zeta
alter nee tentar ÉPÉE scitettearte
A e E

33. (1-2-8408): Propares the 4 and 5 fingers forthe trill given further on

37. (4-28-48) Preparation forthe Trill, for all five fingers.

39. ‘Till alternating between 1-2 and 4-5.

43. E. Ps

44. 1

ses AAA
aii EE

errors

|

il

Sheetfed lol) ||

E

46. Another example of turning the thumb under.

afte rite

SS ee

Poe AA TE +

47. ; ii N ne re

49. ‘The 12 Major Seales, and the 12 Minor Seales,
Each major seal ty its rota

the minor a

61. At an octave p

rr

Chromatic Scales.

el HU baz

63. In contrary motion, beginning on the octave

bie er

In contrary motion, beginning onthe major hid

SR E =
ge = Berre

ae és

fingering, which wo particu- Dares:
12h88 larly ecommend forlegato poupe Lat

70. 4 times.

important 4
partant that

71. Part II.
Virtuoso Exercises, for Obtaining a Mastery over the
Greatest Mechanical Difficulties.
Not
Lift the fingers high and wi
ures are well learned, taker up

fepeated in groups of three.
cision, without raising hand or wrist, Ax soon as the first four mea
Fest of the exercise

MM. dun to.

72. er
crocs oi

73. Notes repeated in groups of two, by all five fingers.

ut the est fingering unt iti thorooghly mastered; practise similarly each of the five following finger-
then play through the whole exercise without stopping.

event the first of each pair of slured notes, 4

nite
out dem > mn Serr Srrel

" 45. |
1 oa

76. Biersrefärssene Beten]
pe — = a —
| RÉ Erarär2E22322r a -enessEauszecet

78. Wrist - exercise.
Detached Thirds and Sixtbs

Lift the wrists well after each stroke, holding the arms perfectly quiet; the wrist shoold be supple,
andthe fingers firm without stiffness. "Practice the first four measures until an easy wrist=movement 1
obtained; then take up the rest of the exercise

79. Detached Sixths

80. © from the 18 to the AU fingers, and from the 24 co the 36, in wach hand.

Very wefsl for increasing the trtching-cayacty of theee finger.

scl rte

81. Tee
ead ca cds cocupy a very important place in difficult mie

We recom
AN notes must be

82. ndispensablo to practiso scales in legato thicds. To obtain a smooth I-
ht tnd for aninstant on is note while the thomb and 34 finger are

passing over lo the next third held for an instant. Note to be
indicated by half= notes. Procoed. similarly in thechrormatie scale further on, and In all reales

83. Preparatory Exercise for Scales in Octav

occupied. tinge
ve the fit Linen. slow
erste the ace, coin the exar
Sy ‘tell the’ feeling of Fauve
So remarks to NP 48.

repeat

dd then. grade” a

repttorerenee |

91. Scales in Octaves in the 24 Keys.
est practise wach of those scales until it can be executed with facility, then play through all 24 with:

out interraption
cannot too strongly

of executing octaves without
‘See the explanations for

st on the absolute necessity of a proper wrist-movement itis the only means
iffness, and with suppleness, vivacity and energy.
48 and 5,

Made

| EU ET:

fire
RE =

vin Octaves, the black Kays are to be taken with the 4th finger of either hand.

92. 29” ES ®
eE pz tee, Ef £1

Fr

93. B major.

+
dias

94. pte
sess |

pe |

AS

LH Eeeee,, ==

fe

95. The Fourfold Trill in Thirds, for all five fingers.

96. The Threefold Trill

Same remark as for N? 54.

11 4

98. Sprit fingerings forth font Tai
hs tegato.

Scales in Broken Octaves, in the 24 Keys.

Play thom through without stopping.
This highly important exercise likewise prepares the wrists for the study of the tremolo.
MM. d= 60 to 420.

dosis
56.

a

99. Sprit fingerings forth font Tai
hs tegato.

Scales in Broken Octaves, in the 24 Keys.

Play thom through without stopping.
This highly important exercise likewise prepares the wrists for the study of the tremolo.
MM. d= 60 to 420.

dosis
56.

a

100. A minor.

ha

q

F major.

Be major,

(9

llos

minor.

Perr hi

EBEN?

101. o

Rs

BS minor,

major. #5
r ET tt
=

102. 1
e
y

i

il
à

2
¡y

103. A major.

D major.

4 ap,

B minor.

Fi

104. To begin with, practise the first arpeggio in

wrist movement, Before passing to the next in

‘Similarly pract

the 24 arpegios

©, which must be played and distinetly, with a good

hen play them ai through without interruption

A minor a

105. ES minor,
Le;
ns

(® As tis arpeggio, and the next one in Bb minor, are on black keys alone, it makes no difference whether (he 4th
à eh De to canton,

106. E major. “ OF minor,
jor, 4. 8.

E
emir + = id
LÉ. _# E
3 “a
Fi minor, à À
i 2 2 EF
5

107. 5 r

2. EEE

5

“i supers see! age

109. 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

ana dao om)

111. The Tremolo,
Te propery execule 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
eached, Finally, by oscillations of the Wrists, the rapidity is still further augmented up to the tempo of the
Grom-roll, This etude is long and difficulty but the excellent result will fully repay the pianist for the trou.
blo and fatigue encountored. Steibeit made hix hearors shiver by his execution of the tremolo.

116. Concluding Remarks.

Now thatthe student has practised this entire volume, he is acquainted with the chief mechanical diffi-
culties; but, if he would enjoy the fit of hi tol, and became a seal virtuoso, ho ought to play “this entire
book through every day for a certain timos only in this way can he familiarize himself with these great dif-
Fieulties. An hour ¡red to play the book through,

The greatest a di necessary to repeat dally exercises for several hours, merely to “Keep up their
playing” We should not, therefore, be accused of exaggerating the matter when wo require of a student aspiring
Ger Dus virdenelly. Riek heard ley thane necesa Track every day: