Since the first release of this classic Schirmer edition over 100 years ago, almost anyone who has taken piano lessons for more than two years has played from The Virtuoso Pianist.
Most anyone who has ever played piano has a love-hate relationship with the “Hanon”.
The Virtuoso Pianist (Le Pianiste virtuose) 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 although some teachers are getting away from the mechanical playing these can produce.
Personally, I’ve sometimes played these on “auto-pilot” since all one really needs is to get the first pattern going, then move up a step, up a step…
Notes by C. L. Hanon: Preparatory exercises for the Acquirement of Agility, Independence, Strength and Perfect Evenness in the Fingers. For studying the 20 exercises, begin with the metronome set at 60, gradually increasing the speed up to 108.
The exercises are intended to 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:
Exercises 1 – 20: Labeled “preparatory exercises”, these are also the most famous exercises, and are used to develop finger strength and independence. Each exercise contains a sequence of 8 semiquavers, beginning on C, which is then repeated starting on D, and so on across two octaves. The exercise is then repeated in reverse down two octaves to the starting C. The exercises are intended to be practiced in groups of three, except for the first two which are practiced together.
Exercises 21 – 43: 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.
Exercises 44 – 60: 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,, and more.
After all three parts are mastered, Hanon recommends all exercises be played through daily to retain technique.
The O’Connor Music Studio has several editions of this work.
. 1907 ~ The Richard Strauss opera, “Salome”, was featured with the Dance of the Seven Veils. It was copied by vaudeville performers. Soon, performances of the opera were banned at the Metropolitan Opera House.
. 1931 ~ Clyde McCoy and his orchestra recorded Sugar Blues. The tune became McCoy’s theme song, thanks to its popularity on Columbia Records, and later on Decca, selling over a million copies.
. 1935 ~ Sam Cooke, American rhythm-and-blues singer
. 1949 ~ Steve Perry, Drummer with Radio Stars
. 2002 ~ Pete Bardens, a keyboardist who played alongside such pop stars as MickFleetwood, Ray Davies, Rod Stewart and Van Morrison, died of lung cancer. He was 57. He was known for his progressive and New Age rock style on synthesizer, electric piano and organ. In the 1960s, the London-born Bardens played in the Blues Messengers with Davies, who later went on to form The Kinks; Shotgun Express with Stewart; Them with Morrison; and the group Cheynes with Fleetwood and Peter Green, who went on to form Fleetwood Mac. In 1972, Bardens formed the progressive rock band Camel and stayed with it through the late 1970s. In 1978, he began a successful solo career, releasing several well-received records, including “Speed of Light”, and also played on Morrison’s album “Wavelength” and accompanied him on a world tour. Barden continued to compose, produce and perform music through the 1990s, appearing in Europe with his group Mirage.
. 2004 ~ Milt Bernhart, a big band trombonist known for his solo on FrankSinatra’sI’ve Got You Under My Skin, died. He was 77. During his three-decade career, Bernhart played in bands led by BennyGoodman, Henry Mancini and others. He was performing in Howard Rumsey’s Lighthouse All-Stars when Marlon Brando arranged for the band to play in the 1954 film The WildOne. Bernhart then became an in-studio musician for Columbia and other film and television studios, and in 1956 added a memorable solo to Sinatra’s I’ve Got You Under My Skin. Born in Valparaiso, Ind., Bernhart was drafted into the Army and was to be sent overseas during World War II before he was transferred to the service’s band. After his music career wound down in 1973, he bought Kelly Travel Service in Los Angeles. He created the Big Band Academy of America in 1986 and planned to retire as the organization’s founding president in March.
. 2004 ~ Ann Miller, a childhood dance prodigy who fast-tapped her way to movie stardom that peaked in 1940s musicals like “On the Town”, “EasterParade” and“Kiss Me Kate”, died of lung cancer. She was 81. Miller’s film career peaked at MGM in the late 1940s and early ’50s, but she honed her chops into her 60s, earning millions for “Sugar Babies”, a razzmatazz tribute to the era of burlesque featuring Mickey Rooney. Miller’s legs, pretty face and fast tapping (she claimed the record of 500 taps a minute) earned her jobs in vaudeville and night clubs when she first came to Hollywood. Her early film career included working as a child extra in films and as a chorus girl in a minor musical, “The Devil onHorseback”. An appearance at the popular Bal Tabarin in San Francisco won a contract at RKO studio, where her name was shortened to Ann. Her first film at RKO, “New Faces of 1937”, featured her dancing. She next played an acting hopeful in “Stage Door”, with Katharine Hepburn, GingerRogers, Lucille Ball and Eve Arden. When Cyd Charisse broke a leg before starting “Easter Parade” at MGM with Fred Astaire, Miller replaced her. That led to an MGM contract and her most enduring work. She was teamed with Gene Kelly and Frank Sinatra in “On the Town”, RedSkelton in “Watch the Birdie”, and Bob Fosse in “Kiss Me Kate“. Other MGM films included: “Texas Carnival”, “Lovely to Look At”, “Small Town Girl”, “Deep in My Heart”, “Hit the Deck” and “The Opposite Sex.” The popularity of musicals declined in the 1950s, and her film career ended in 1956. Miller remained active in television and the theater, dancing and belting songs on Broadway in “Hello, Dolly” and “Mame”. In later years, she astounded audiences in New York, Las Vegas and on the road with her dynamic tapping in “Sugar Babies.” The show opened on Broadway in 1979 and toured for years. In 1990, she commented that “Sugar Babies” had made her financially independent. While her career in Hollywood prospered, Miller became a regular figure in the town’s night life, and she caught the eye of Louis B. Mayer, all- powerful head of MGM. After dating, she declined to marry him because her mother would not allow it. She later married and divorced steel heir Reese Milner and oilmen William Moss and Arthur Cameron.
. 2004 ~ Dick Rodgers, an insurance salesman known as the “Polka King” when he hosted a regional television show from the 1950s to the 1970s, died. He was 76. Rodgers’ television show was on the air from 1955-78, starting on WMBV in Marinette, which later moved to Green Bay and became WLUK-TV. The program was shown on 17 Midwestern stations at its height. Rodgers’ accomplishments included membership in the International Polka MusicHall of Fame (1976) and in the World Concertina Congress Hall of Fame (1996). He also was named Orchestra Leader of the Year by the Wisconsin Orchestra Leaders Association in 1967.