The Virtuoso Pianist In 60 Exercises
Encyclopedia
The Virtuoso Pianist by Charles-Louis Hanon
, is a compilation of sixty exercises meant to train the pianist
in speed, precision, agility, and strength of all of the fingers and flexibility in the wrists. First published in Boulogne, in 1873, The Virtuoso Pianist is Hanon's most well-known work, and is still widely used by piano instructors and pupils. However, the applicability of these nineteenth-century exercises has been questioned by some piano instructors today.
The exercises are divided in three parts.
The first part, consisting of exercises 1 - 20, is labeled "preparatory exercises." These are also the most famous exercises.
The second part, consisting of exercises 21 - 43, is labeled "further exercises for the development of a virtuoso technique." This more difficult section is meant to be played after the pianist has fully mastered Part 1. Part 2 includes scales
and arpeggios.
The third part, consisting of exercises 44-60, is labeled "virtuoso exercises for mastering the greatest technical difficulties." Since this section is considerably more difficult, Hanon recommends the mastery of both previous parts before proceeding to this one. This part includes repeated notes, repeated double notes, scales in thirds and octaves, tremolos, and more.
After all three parts are mastered, Hanon recommends all exercises be played through daily to retain technique.
Some detractors, such as Abby Whiteside
have dismissed the very notion of finger independence which they are intended to encourage, insisting instead that only a technique based on the use of the humerus
can be effective.
One pitfall is that practicing the Hanon exercises with imperfect technique will reinforce the technique errors via endless repetition. Students who don't apply the requisite keen technical meticulousness to their study of these exercises (or who lack qualified and diligent teachers) may risk "burning in" their technical errors. More seriously, poor technique, especially when exacerbated by narrow repetition, can give rise to repetitive stress injuries - to which pianists are notoriously susceptible.
Hao Huang
believes that "Hanon, Schmitt or Czerny have been useful for beginning pianists, affording variety as an alternative to endless practicing of scales and arpeggios" but warns against "the idea of technical exercises as panacea":
Charles-Louis Hanon
Charles-Louis Hanon was a French piano pedagogue and composer. He is best known for his work The Virtuoso Pianist in 60 Exercises, which has become the most widely used set of exercises in modern piano teaching....
, is a compilation of sixty exercises meant to train the pianist
Pianist
A pianist is a musician who plays the piano. A professional pianist can perform solo pieces, play with an ensemble or orchestra, or accompany one or more singers, solo instrumentalists, or other performers.-Choice of genres:...
in speed, precision, agility, and strength of all of the fingers and flexibility in the wrists. First published in Boulogne, in 1873, The Virtuoso Pianist is Hanon's most well-known work, and is still widely used by piano instructors and pupils. However, the applicability of these nineteenth-century exercises has been questioned by some piano instructors today.
Overview
The exercises address common problems which could hamper the performance abilities of a student. These include "crossing of the thumb," strengthening of the fourth and fifth fingers, and quadruple- and triple-trills. The exercises are meant to be individually mastered and then played consecutively in the sections they are placed in. Apart from increasing technical abilities of the student, when played in groups at higher speeds, the exercises will also help to increase endurance.The exercises are divided in three parts.
The first part, consisting of exercises 1 - 20, is labeled "preparatory exercises." These are also the most famous exercises.
The second part, consisting of exercises 21 - 43, is labeled "further exercises for the development of a virtuoso technique." This more difficult section is meant to be played after the pianist has fully mastered Part 1. Part 2 includes scales
Musical scale
In music, a scale is a sequence of musical notes in ascending and descending order. Most commonly, especially in the context of the common practice period, the notes of a scale will belong to a single key, thus providing material for or being used to conveniently represent part or all of a musical...
and arpeggios.
The third part, consisting of exercises 44-60, is labeled "virtuoso exercises for mastering the greatest technical difficulties." Since this section is considerably more difficult, Hanon recommends the mastery of both previous parts before proceeding to this one. This part includes repeated notes, repeated double notes, scales in thirds and octaves, tremolos, and more.
After all three parts are mastered, Hanon recommends all exercises be played through daily to retain technique.
Criticisms of The Exercises
The most common criticism of the Hanon exercises is that having students drill on purely physical exercises results in an unmusical, mechanistic attitude toward the piano. Critics argue that practicing in an unmusical way dulls one's musical instincts, especially when forced upon children and beginners, who need to cultivate their musicality rather than inure themselves to rote physicality. It is also argued that it is more efficacious to practice one's musicality as one practices one's technique; training in most art forms involves practicing technique, however repetitively, within artistic context. It is further argued that musicality drives technique; the flow of musical expression is a potent motivator to finger agility.Some detractors, such as Abby Whiteside
Abby Whiteside
Abby Whiteside was an influential and controversial American piano teacher. She challenged the finger-centric approach of much classical piano teaching and instead advocated a holistic attitude in which the arm and torso are the conductors of a musical image conceived first in the mind and...
have dismissed the very notion of finger independence which they are intended to encourage, insisting instead that only a technique based on the use of the humerus
Humerus
The humerus is a long bone in the arm or forelimb that runs from the shoulder to the elbow....
can be effective.
One pitfall is that practicing the Hanon exercises with imperfect technique will reinforce the technique errors via endless repetition. Students who don't apply the requisite keen technical meticulousness to their study of these exercises (or who lack qualified and diligent teachers) may risk "burning in" their technical errors. More seriously, poor technique, especially when exacerbated by narrow repetition, can give rise to repetitive stress injuries - to which pianists are notoriously susceptible.
Hao Huang
Hao Huang
Hao Huang is a concert pianist and professor of music at Scripps College as well as being a polymath published scholar in general music, popular music, ethnomusicology, anthropology, American Studies and Humanities...
believes that "Hanon, Schmitt or Czerny have been useful for beginning pianists, affording variety as an alternative to endless practicing of scales and arpeggios" but warns against "the idea of technical exercises as panacea":
There is nothing more dulling than hours spent mindlessly going over finger patterns. This does not prepare you to be either a pianist or a musician. Too often, teachers assign technical exercises as a shortcut to technical mastery. It is easier to assign pages from an exercise book than to analyze and break down the physical elements in a specific difficult passage of music... Dorothy Taubman is one of the well known pedagogues who campaigns against technical exercises, asserting that they do far more damage than good. Certainly, indiscriminate practicing of exercises can damage a pianist just as forcing repetition of a difficult piece. In my mind, the question should not be whether or not to use technical exercises, as much as how to think physically at the piano.http://pianoeducation.org/pnotmi2.html
Trivia
- In the finale of Dmitri ShostakovichDmitri ShostakovichDmitri Dmitriyevich Shostakovich was a Soviet Russian composer and one of the most celebrated composers of the 20th century....
's Piano Concerto No. 2Piano Concerto No. 2 (Shostakovich)Piano Concerto No. 2 in F major, Op. 102, by Dmitri Shostakovich was composed in 1957 for his son Maxim's 19th birthday. Maxim premiered the piece during his graduation at the Moscow Conservatory...
, the piano part at one point contains a series of running figures which are obviously derived from the Hanon exercises. Since the concerto was dedicated to (and premiered by) his son MaximMaxim ShostakovichMaxim Dmitrievich Shostakovich is a Russian conductor and pianist. He was the second child of Dmitri Shostakovich and Nina Varzar.Since 1975, he has conducted and popularised many of his father's lesser-known works....
, some have suggested that these passages are a reference to the Hanon exercises Shostakovich would have heard his young son practicing.
- The pianist and songwriter Bruce HornsbyBruce HornsbyBruce Randall Hornsby is an American singer, pianist, accordion player, and songwriter. Known for the spontaneity and creativity of his live performances, Hornsby draws frequently from classical, jazz, bluegrass, folk, Motown, rock, blues, and jam band musical traditions with his songwriting and...
wrote a song titled "Spider Fingers" which uses the technique from Exercise 47. Hornsby makes a reference to the technique in the lyrics: "It's just a little hand trick/A little prestidigitation/Better get out your Hanon/Practice that repetition"