The Virtuoso Pianist Part I by Charles-Louis Hanon
1873
Based on Part I of this PDF in the public domain
http://hz.imslp.info/files/imglnks/usimg/1/1b/IMSLP9154
7-PMLP03129-Hanon_Final.pdf
Text omitted from Page one:
For studying the 20 exercises in this First Part, begin
with the metronome set at 60, gradually increasing the
speed up to 108; this is the meaning of the double mark
at the head of each exercise.
Lift the fingers high and with precision, playing each
note ...(+)
The Virtuoso Pianist Part I by Charles-Louis Hanon
1873
Based on Part I of this PDF in the public domain
http://hz.imslp.info/files/imglnks/usimg/1/1b/IMSLP9154
7-PMLP03129-Hanon_Final.pdf
Text omitted from Page one:
For studying the 20 exercises in this First Part, begin
with the metronome set at 60, gradually increasing the
speed up to 108; this is the meaning of the double mark
at the head of each exercise.
Lift the fingers high and with precision, playing each
note very distinctly.
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 Nº 2; 2-3-4 in
Nº 3, etc.
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 consequence, 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, making 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
remaining 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 render 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 piano 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 piano 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
excellent practice for the fingers, and one loses no
time in studying them. If desired, any of these finger
exercises may be played on several pianos
simultaneously, 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 may be
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 stiffness 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 execution will have been acquired which is the
secret of distinguished artists.
Finally, we offer this work as giving the key to all
mechanical difficulties. 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.”
Brigham, James (1975 - )
