Hanon for the Accordion Book 1 . 1-2

The aim of every modern accordionist

is to play with a Aawless technic and to achieve that perfec-

-tion in as short a time as possíble. When a natural

Hanon

procedure to practise approximately

wrote his celebrated

studies, it was consídered

ten years before being able to play any piece of even

rnedíum difficulty. The science ol pedagogics,

in keeping with the modern tempo, has attempted

eliminate

repetition

useless drudgery

and monotonous

,-

as much as possíble consistent

to

with sound

musical training. To

rhts

principle we have conformed in these books, The studies are transposed

to various keys, not

only to break the monotony of the key of C, but to give the player a mastery over the bIack keys not in the original

posslble

strictly accordionistic paniment

form, - an innovation

manner,

embracing

to difficult synchronizing

In hts advice to students. always returning

Hanon

of the hands

offers a new and interesting

has been arranged

in contrapuntal

formo

going through the entire book without a stop as a

The difficuIties are so presented

problem without

that each successive

The perseverance

and courage

literature

also to

whose practise time is limited.

esting studíes. In presenting accordíon

study

the monotony and fatigue of useless repetition. When

the entire book may be played in about one hour and wilI be found invaluable

teachers and professionals

in

the mastery of every study by spending a week on each,

suggested

development.

The left hand

the different technics from sim pie bass and chord accorn-

to exerci se No. 1 and eventually

daiIy drill in technical

mastered,

in Hanon.

necessary

to become a great artíst is consíderahly

aíded by inter-

this book, we believe we have added a new chapter to the progress of

and a great aíd to ultimate

artistry. The Publishers

The keyhoard touch and position of the right hand It is advised that the player employ alI varieties of touch and dynamtcs throughout graduated

nuances

the development

(crescendo

anddiminuendo

the book. AIso

wirhin one measure, within two measures, etc.) for

of style and artistry. Vary the touch for each exercise, ~or instance:

No. 1, Íegato, the absolute binding of alI notes. No. 2. staccato, the crispo light touch. No. 3. leggiero, the enunciated O.

4. martellato,

touch between Íegato and staccato.

the 'hammered'

stroke.

The position of the right hand is haIf dawed.

the approximate

form the hand would be in grasping

a base-ball. At the first tempo (M.M. 60) retake the beIlows measure. When

every two Q~rs, always

the faster tempos have been reached,

at the beginning

retake the bellows every four measures.

of the

4

Book

~o 1

Special AMPCO arrangernent ALFRED d'AUBERGE

by

"Al\IPCO"

HANON ACCORDION ~I.M.

J:

60 -108

Re pe at this me a sur e until the fingers are fluent in the musical form

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Each exercise has for it's airn, t he mastery of a spec if'ic di ff icul'ty, The player is earn~s~ly adv~sed to mastcr each study befcre progressmg to the ncxt. Thr oughout the book, the repet tio n slgn on the second Iast measure indicates a D. C. from the first mcasure. í

7l'7-46 Ent ir e Book Copyright 1943 l ntcr nat ional Copyright Secured

by ACCORDION

MUSIC PVBLISHlr-;G Made in C.S.A.

CO.,46

Greenwich

Ave.jNew York,N.Y. AlI Rights Reser vcd

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5

This study given A minor l:armonization by additíon of the Arnatural ) minor scalc in the

Ie f't

hand.

I

íRepeat many times for fluency in the form) 2 5 ~ 3

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6

This exercise transposed

into F to develop fluency on one black key,

(Re peat many t ime s ) 12543234 1 l

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Exercise speci al Iy des igned to develop equal strength between the 4th and (descending) as ez st s between the 1st and 2nd (ascendíugj.

õ

th fingers

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Rhythmic hand notes.

bass and chord accompaniment

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here added to insure absolute evenness inaU the right

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u A variation on the th emc of NO.5. On cach study he sure to repeat the fingcrs have developed fluency in the formo

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the first measure until

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Are you keeping your hand in the correct position? though gras ping a base bano

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Remember the fingers shonld be clawed as

10 Th s exerci se transposed into G for mastery flcxibility, and independence of alI fingers.

of F~ with all fingers.

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in the key of G. Observe the rhyth mic variation

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Exercise with preparatory

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scale form for tlie lcft hand,

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study for the tri ll.

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1

4

2

5

3

5 1

1

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1

4

2

4

5 1

2

3

4

1

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707-46

The pIayer is reminded that a brilliant trill depends as much on the evenness of the notes as i does on speed.

14

This cx er ci se transposed

, 11 I

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into D to develop facility on two black keys.

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1

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15

Further technical

1 3

5

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study in D embracing

··

t

12 , . .

-,

Major and Minor 7ths.

5

.. .-

513

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1 ~ 3 1

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-- - -

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Exercise to develop dexterity in thirds. :s

3 1"

1 "

31425345

13

~

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3

5 2

1

3 "

13"

352

3

5 2 1

3 "

3

5 2

,

1 3 4

3

5 2 1 3 "

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t--- c- t- t.--

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17

Further

trill study. (3rd and 4th fingers ascendíng, 2nd and 3rd fingers descending) 1 1~434354

14

5

z

4

1

2 '\ 1

2

4

1~

Study in A for mastery

of the black

keys. (Further

dcvelopment

of melodic thirds.)

1 2 1 3

121324351213,4351213

15

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in G. Development of fluency in melodic 6ths. 1 5

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Gb

by reading the same notes and employing the signaturr

Exercise

for the development of dexteríty

Transposed

23

in one octave arpeggi08.

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