The Virtuoso-Pianist. Part I. Preparatory Exercises for the Acquirement of Agility, Independence, Strength and Perfect Evenness in the Fingers. NOL 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. (ata d= 60 to 108) C. L. HANON, () For brevity, we shall henceforward indicate only by their figures those fingers which are (o be specially trained in each exercise; €. 8.84 in NO 2; 2-8-4 in NO 8, etc Observe that, throughout the book, both hands are continually executing the same difficulties; in this way the left han 1e8 a8 skilful as the right. Besides, the difficulties executed by the left hand in ascending, are exactly copied by the fingers of the right hand in descending; this new style of exercise will cause the hands to acquire perfect equality.As soon asx 4 is mastered, fo on to Ex 2 Without stop. ping om his note Te Te F Nea. ‘a (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. © 1 be te ts ba = Do - r (1) The fourth and fifth fingers being naturally weak, it should be observed that this exercise, and those following it up to N@ 34, are intended to render them as strong and agile as the second and third.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 practised in this manner. Therefore, when playing the numbers in the First Part, stop only on the last note on pp. 3,6, 9, 1, 15,18, and 21 feerueerrer! Serres? Rees *NO 4.NOS. (4-2-#-4-5) We repeat, that the fingers should be lifted high, and with precision, w me is mastered entire vol- tees eae2|eesaaza|t(8) 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 1b oe sees | eS!(3-4-5) Exercise of the greatest importance for the 3%) 4th and 5th fingers. 7. 43283543 | 18 2o ES aS =e BFerais* Seacsts* 5(1-2-8-4-5) Very important exercise for all five fingers. tees page| EaseExtension of the 4th ° (hand 5th, and th, and general finger-exercise a55]s 2925354 | 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 ‘814 and 4th of the right, descending (2). 4B saga 29/153 2323 ‘ 5 2 5, @ 5 :(8-4-5) Another preparation for the trill, for the 4th and 5th fingers. 1254 55s | 25Extension of 4-5, and exercise for 3-4-5. cae _oeee ry(3-4-5)(3-4) Another preparation for the trill, for the 34 and 4th fingers. Bressot? 542Extension of 1-2, and exercise for all 5 fingers.Extension of 3-5, and exercise for 3-4-5.Extension of 1-2, 2-4, 4-5, and exercise for 3-4-8 17. a4) pss es 1 BrPri:s? fae Sorat?(1-2-8-4-5) 18. ¥] Parst2as gant sae ft sae 49 19. erywervicerrreey ri trl SSerinat Frases 4? stsExtension of 2-4, 4-5, and exercise for 2-3-4 ats os, Peesaas Pease End of Part 1 Afier having mastered this First Part, play it through once or twice daily for some time before commencing the study of the Second Ctranscendent”) 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 IL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). (MM. 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 SereteeeeereneRee a veseeane a tees eae cateeccecaaenasHaving fly mas- tered this exercise, goon to the next trthout stoping on this oie oSame object as N° 21. (3-4-8) ? Spare are | 8 PHT eae Se sa ee 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, 87, 41, 44, 46, and 49.eee as ao as stas ears 5 5 5-2-8-4-5) case &(1-2-8-4-8) 26. earree seen5): Prepares the 4th and 5th fingers for the trill given further on. 27 were! ahr 1 2a oeae ee ee 1eassars(4-2-8-4-5) Preparation for the Trill, for all five fingers. 29. pa sea aa 2 ®‘Trill alternating between 1-2 and 4-5.(1-2-8-4-5, and extensions) ae!f eed * Turning the thumb under. Turning the thumb under the 2"4 finger. wad - aotere tsetse it fExESETESESES etgresznaie soszr2i2 le, | SeeTurning the thumb under the 3° finger. Mum. d- aoto72. Repeat this meastire 4 times. 7492) i939) 33. tzpiseteaiae P tareeszeis? 3 arte Taet Ggereaiae ras paeressaeras CFT oe 13 1 8; 3 13 S¢ecaette t toa) eesTurning the thomb under the At! finger. 6010108. Repeat this measure {0 times. teeas ane | 23a ae zea aneTurning the thumb under the 5th finger. This exercise is of the highest importance. MLM. d 40 to 72, 35. Repeat this measure tings | 2 gi sagz perpaser Fprveseraias rorsacer 6 forsaser GS Cprpaeet 6 Cetsabet ietee S Ofotoe 15154 B45 tsisaser 5 tsisaser tgagaaesAnother example of turning the thumb under. eee ss oe Mpea teas of *sataga t ra Special exercise for turning the thumb under. Play thig whole exercise with the two thumbs only. eee! ie Cees == fe 37. ee 4s 2 4 4 to (i esate Geese ass cn cat nace eunos Grikies thee’ chu isecesting Uiseclve ecectPreparatory exercise for the study of scales. sae a 38. ' SA | 12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 seale, also termed the “harmonic minor scale,” and by a figure 2 the second (ancient) minor seale, 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 seale has a major sixth and the leading note is ascending, and a minor seventh and minor sixth in descending. MM. J = 60 to 120. cr C major.2.D minor.Bb major. ated 1. G minor. 2.G minor.Eb major.Ab major. 1. F minor. 2. Fminor.1 1s 5 iva Dp major. 2. Bb minor.Gb major.1. Gt minor. 2. G#minor.1. C# minor. ae att 2. CH minor.1. Féminor,2. B minor, oe1. E minor.