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THE
STUDIES By
John Thompson BOOK ONE — Specially edited, annotated and arranged to develop the fundamental
touches in piano playing, with complete explanatory text. Price 1.00 (in U.S.A.)
BOOK TWO — Advanced
supplement to
BOOK ONE,
especially edited
ranged to develop finger independence and
and
ar-
artistic virtuosity.
Price 1.25 (in U.S. A.)
I THE WILLIS MUSIC Cincinnati, W. M.Co. 5763
Ohio
CO,
Digitized by the Internet Archive in
2010
http://www.archive.org/details/hanonstudiessuppOOthom
Supplementary Material for use with
jQffi toRMMSfteRNC&DRSE fORTSE RAHO
THE
STUDIES By
John Thompson BOOK ONE — Specially edited, annotated and arranged to develop the fundamental
touches in piano playing, with complete explanatory text. Price 1.00 (in U.S. A.)
BOOK TWO- Advanced
supplement to
BOOK ONE,
especially edited
ranged to develop finger independence and
and
ar-
artistic virtuosity.
Price 1.25 (in U.S.A.)
THE WILLIS MUSIC W. M.Co. 5763
Cincinnati,
Ohio
CO.
.
CONTENTS Page
No. Preface
1
1
Two-Note Phrases
The Lame Duck
2
2.
Three-Note Phrases
The Scooter
4
3.
Four-Note Phrases
Ice Skating
6
4.
High Finger Legato
The Old Mill Wheel
8
5.
Wrist Staccato
The Woodpecker
10
6.
Finger Staccato
The Machine Gun
12
7.
Forearm Staccato
The Freight Train
14
8.
Portamento
The Steamboat
16
9.
Close Finger Legato
Aquaplaning
18
Rotary Motion
The Fountain
20
For Developing Speed
Rhythmical Drills
22
10.
11.
Alternating Long and Short Phrases.
12.
Alternating Short and Long Phrases
13.
Alternating Legato and Wrist Staccato
14.
Alternating Staccato and Legato
The Juggler and
15.
Combining the Various Touches
At
17.
— Expanding Slurred Groups — Contracting
18.
Touches Directed by Teacher
19.
Interlocking Staccato and Legato
20.
Rotary Motion and Finger Legato
16.
Slurred Groups
.
.
.
.
Yachting
24
The Glider
26
The Bee and
5763
the
Acrobat
30 32
the Fair
The Balloon Race (The Take-Off) The Balloon Race (The Landing) Different Touches Every
Measure
.
.
.
.
.
.
34
36 38
40
The Swallow
Teaching Pieces Classified According to Touch W. M. Co.
28
the Cricket
42
44
PREFACE THIS edition of the Hanon Studies
is
designed to promote the agility, independence,
strength and perfect evenness of fingers, which constitute the original objectives of the work, and to develop simultaneously the various fundamental touches used in playing the piano with expression.
been the contention of the Editor that young pianists should be taught to use in miniature the same pianistic attacks used by concert artists. This point needs no discussion since it s value has been proven over a period of years. It has long
AVOID CONFUSING VARIATIONS SIMPLICITY
has been the watchword in the preparation of this edition. Touches are presented ONLY in fundamental form. It is understood that every touch has an infinite number of subtle variations. To
attempt to teach these variations before fundamental principles are understood and mastered is poor pedagogy, and leads inevitably to the confusion of the student, as well as to stiffness,
cramped muscles, and a "technic conscious"
attitude.
Piano playing, from the technical standpoint, can be made a perfectly natural process akin to walking, running or jumping. Once fundamental principles have been mastered and can be demonstrated with ease and relaxation, the numerous varieties of touch follow quite naturally. It will be found that these varieties differ with each pair of hands. Comparison of the styles of playing of great artists will prove this point. Therefore much wellmeant effort is frequently lost in hastening what should be a more or less natural process, and a regrettable result of premature forcing results in the teacher imposing his or her own individual variety of touch on pupils to whom it may be wholly unfitted. For these cogent reasons this edition deliberately avoids any effort to develop subtle and confusing variations of touch at this stage. Nothing is taught, for instance of the varieties of the weight principle, suspended weight, pressure weight etc. nor of the various depths of touch, deep, shallow etc. The main idea is to give the young pianist an appreciation of the uses of the fundamental touches so that these can be applied readily to First and Second Grade pieces. The definite tonal results will be found a stimulus to Interpretation in these early grades.
—
—
ARM AND WRIST MOTIONS
FIRST
—
Note that Phrasing Attacks are used first: Two-note, three-note, and four-note phrases. The Drop-Roll motions employed tend to develop freedom and relaxation in the arm and wrist, making it possible for the hands later on to remain in quiet position, without
stiffjiess,
while playing finger legato.
PERFECT DEMONSTRATION Undoubtedly the quickest and easiest way to teach the various touches is by demonand imitation. A faulty presentation will of course be copied by the pupil. It follows therefore that the demonstration by the teacher should be as perfect as possible. stration
TEMPO The Tempo should be set according
to the ability of the individual student
be governed by ease and accuracy.
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Phrasing in
W
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phrasing
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to the violinist, breathing to the singer, enunciation to the speaker, to the pianist
is
.
A
simple, two-note phrase properly executed, not only breathes and is separated from the next phrase, but produces a tonal inflection that adds to the beauty and interpretation of the
music very easy to accomplish Simply remember the effect comes naturally. In the following example, play the first note of each phrase with a gentle drop of the arm. The second note is played with a rolling motion of the arm and hand in an inward and upward movement, using no finger action and releasing the note on the upward roll.
The proper attack
the words,
for a two-note phrase is
.
DROP-ROLL and ,
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Play the staccato note (fourth count) with a staccato drop of the forearm.
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Phrasing
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Example, the arm drops on the first note of each measure (as in Ex. 1 and 2), next two notes (2nd and 3rd beats) are connected with Finger Legato, and the last note of the phrase (4th beat) is rolled off as before this
Inthe
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High Finger Legato Quiet lor this
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touch raise fingers comparatively high, being sure
points to the spot on the key where
it
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of the finger always
will strike.
This insures proper finger curve. NOTE-. Never raise the fingers high enough to cause a feeling of stretch or cramp.
Raise and drop the fingers with military precision. Keep the hand and
arm
perfectly quiet.
This touch develops independence and strength of finger, and produces clean, articulated passage playing All the Exercises in this
book should be practiced with High Finger Legato
The Old
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Wrist Staccato In
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No finger action
used and the hand bounces
toward the keys and not on the up-stroke
usually the result of raising the hand too high (on the up stroke).
This touch produces a crisp, percussive staccato.
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Finger Staccato This differs from Wrist or Forearm staccato in that the key being struck
is
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.
Begin the attack by allowing the finger
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just as
you would
to rest lightly on top of the
straightened position.
Next pluck the finger back sharply toward the palm of the handpluck the strings of a Harp, for instance.
Do
not allow the
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move during
This touch produces a
moving away from
snappy staccato quite different Wrist or Forearm since theWeight
brittle,
in quality to that of the is
the process
the
key at the moment of impact.
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Forearm Staccato elbow is the hinge. mid-air the hand hangs loosely from the wrist. At the moment with the keys, the wrist drops to normal (level) position. this touch the
InWhen
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This touch makes more use of the Weight Principle than wrist staccato and the result more depth of tone.
a staccato with
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Portamento portamento in piano music, means a long (sustained) note, deta ched from the following note and is indicated by the curved line and the dots thus, m m m m
produced by the forearm in a slightforward motion. Use practically the same motion as for Forearm staccato, only give to each note more resonance It is
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and longer duration.
The best way to get the "feel"of this stroke is to play the C major scale as legato as possible with one finger, held as shown in the accompanying picture.
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Close Finger Legato
Quiet
Hand
keep the fingers close to the keys, allowing the weight of the hand to from one finger to the other. transferred be DOJVT PUSH. Both hand and arm remain perfectly quiet. Think of walking on the fingers.
For
this touch,
This touch develops evenness of tone- since the arm weighs the same on each finger. It as less produces a "liquid" quality in passage work and makes possible more speedfinger effort is expended.
Aquaplaning «i
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Rotary Motion Rolling Attack
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of the hand as a wheel, the fingers of which are the spokes. When the hand (or wheel) is rolled in either direction, the fingers (spokes) play as they come in contact with the keys Be sure to toss off the last note of the roll sharply, using the same inward and upward motion as that applied to the last note (rolled) when finishing a phrase .
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NOTE
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this point,
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This procedure obviates monotonous repetition and results in added interest, enforced concentration and, not of least importance, speed will develop automatically if the rhythms are followed in the order given.
When
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16ths.,
During the review work of Section One, various attacks may be employed at the discretion of the teacher. However, it is well to stress the use of High and Close Finger Legato in all the studies since, after all, the primary purpose of the Hanon Studies is to develop strong and agile finger action.
important that the pupil strive to play these studies with Tonal Gradation Crescendo and Diminuendo may be applied at will, according to the taste of the pupil or, as directed by the teacher. It is
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Rhythmical
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Combined Touches as directed by the Teacher
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This Exercise should be studied until the pupil can change from staccato to legato without effort.
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W. M.Co. 5763
5
LEGATO and STACCATO
touches.
»
42
Combining Rotary Motion with Close Finger Legato Practice this Exercise first using High Finger Legato throughout.
Later roll the arpeggio groups
(first
half of each measure) and use Close Finger Legato
on the last half of each measure, thus
etc. I
Roll
3-
Close Finger Legato
The Swallow
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W. M.Co. 6763
43
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When the student has finished this book proceed immediately to JOHN THOMPSON'S edited
by John Thompson
— WMCo.,
we
strongly
recommend
HANON — BOOK TWO,
edition 9345.
/^
that he
especially
—
RECOMMENDED TEACHING Classified according to
TWO-NOTE PHRASES .
.
.
—Gr. —Gr. —Gr. —Gr. —Gr. —Gr. —Gr. —Gr.
.
1 1 1
2 2 2 2 3
THREE-NOTE PHRASES Cobbler, Cobbler
Rebe Moccasin Dance Long Captain Kidd Waldo March of the Champions. Waldo
—Gr. —Gr. —Gr. —Gr.
1 1
2
3
ALTERNATING LONG AND SHORT PHRASES
—Gr. Haines —Gr.
Drowsy Moon
Long
Roguish Eyes
2
2
Marche
—Gr. Slav Tehaikowsky-Thompson —Gr. Brahms-Thompson
—Gr. Kerr —Gr.
Montandon
Woods at Dawn
1
2 2
FINGER STACCATO March of the Spooks
Haines
Katydid and the Cricket. Wade
—Gr. —Gr.
1
3
WRIST STACCATO
—Gr. Valse Triste. .Sibelius-Thompson —Gr. Cheer Leader Rodgers —Gr. Parade of the Penguins Wade —Gr. Drum Major Selby —Gr. Long
.
....
—Gr. Haines —Gr. Ward
March of the Spooks.
.
.
All of the
1 1
—Gr. Leslie —Gr. Tschaikowsky-Thompson —Gr. Moccasin Dance Long —Gr. March of the Champions. .Waldo —Gr. By a Roadside Fire Rodgers —Gr.
On the Levee Hoe Cake Shuffle Marche Slav
Waldo
LEGATO AND STACCATO Bogey Man Cobbler, Cobbler
1
2 2 3
—Gr. —Gr. —Gr. Thompson —Gr. Montandon —Gr. Waldo —Gr. Haines — Gr. Kerr —Gr. Thompson —Gr.
Woods at Dawn Tango Carioca
1
1
1 1
3 3
Long Rebe
1
Leslie
1
...
Busy Corners Captain Kidd Roguish Eyes
1
2
2 2 2
2 3
WRIST AND ARM STACCATO Banjo Picker Wright Parade of the Penguins. .Waldo
—Gr. —Gr.
2 2
ROTARY MOTION Thompson Swan on the Moonlit Lake Rebe Arlen Balloons .
above pieces are contained
SERIES"
Published by
CO.,
.
in
THOMPSONS STUDENTS
THE WILLIS MUSIC
1
FOREARM STACCATO
Dirigible
Dutch Twins
'JOHN
Procession of the Seven Dwarfs
Brownies' Carnival. 1
CLOSE FINGER LEGATO Busy Corners
Cont.
Hoe Cake Shuffle
HIGH FINGER LEGATO Lullaby
Touch
Wrist Staccato
Swaying Silver Birches. Leslie Ward Dutch Twins Forest Dawn Thompson Hiawatha's Lullaby Ward On A Simmer Sea Ketterer Brownies' Carnival. .Thompson Roguish Eyes Haines Tango Carioca Thompson
PIECES
CINCINNATI, O.
—Gr. —Gr. —Gr.
2
2 3
THE PROGRESSIVE SUCCESSION of
" SOMETHING
NEW EVERY LESSON "
PREPARATORY GRADE "Teaching
A
Little Fingers to Play"
K£?JZ
Accompaniment Book "Teaching Play Ensemble"
Little Fingers to
rt^TSCXSiTTS S^SSSi^TSr£i
y
GRADE ONE "John Thompson's
"Hanon Studies"
First
Grade Book"
(Specially r m edited
™*b**
t
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t,
'**
'ZS'JZTSt'Z, pai " 2'"
by John Thompson) r '
, tor
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supplementary work.
Supplementary material for diversion
"For Girls Who Play" "Let's Join the Army"
Wagon
>
"Covered
t
"Students Series"— Grade
Suite" 1
Teaching pieces
GRADE TWO "John Thompson's Second Grade Book"
S4LM3tl^5S?
"Hanon Studies
Pages ?<-«
{Specially edited by
John Thompson)
to
be used supplementary.
"First Studies in Style"
Supplementary material for diversion
"The Pilgrim Suite"
*
"Students Series"— Grade z
Teaching Pieces
GRADE THREE "John ThompSOn'S Third Grade BOOk" "Third Grade Velocity Studies"
Progresses uninterruptedly and logically.
{SP eciaiiy Edited
^ »,„
Th.,,n r ,„„,
(Specially edited by John Thompson) "HanOll Studies' — BOOk TlVO "Keyboard Attacks" t "World Known Melodies" "We're in the Navy Now" "Students Series"—Grade 3 Teaching Pieces
FOR SALE BY ALL MUSIC DEALERS
Published by 275
THE WILLIS MUSIC
CO., Cincinnati, Ohio
New
'Something
~ Every is
the
MOTIF
Lesson"
of
JOHN THOMPSONS Modern Course
TEACHING LITTLE FINGERS TO PLAY When children can place their fingers and play a tune during
the
first
for the Piano
on the piano keyboard
few moments of
son, they discover that learning to play music
their
first les-
as entertaining
is
There
as any playtime activity. Hence, the advisability of the rote
is
a direct, incisive quality
in
John Thompson's manner of explain-
approach. This introductory book leads to the pupils making musical technicalities and a co-
music by rote while they simultaneously master the rudiments of
ing
note reading.
ordinating
FIRST
GRADE BOOK
Written
in
the five-finger position throughout with a
included
extensions
finger
planned
practical
for pupils of
in
the
later
few single
pages. The book
ginners playing with precision, expression
— the
the author's
is
groundwork
to ultimate
in
MODERN COURSE FOR
be-
mastery of the keyboard.
eye and hand rank of equal im-
portance
GRADE BOOK. Parents and teachers this SECOND Piano Accom-
be used with the FIRST
The
in
the
Thompson scheme.
innate
child's
musicality
not,
is
enthuse every child by using
therefore, subordinated to a mechani-
paniment Book and playing with the beginner. Ensemble playing
in
and musical under-
SECOND PIANO ACCOMPANIMENT BOOK will
conjoin
THE PIANO.
Ear,
To
which
allusion,
and
poetical
of
average age who have completed a pre-
paratory grade standard. The Thompson formula results
standing
thread
and adds musicianship along making music.
exciting
is
experiences
in
cal
with pleasurable
lowed
SECOND GRADE BOOK A gradual
expression of fingerwork or to
al-
atrophy amidst the mazy
thickets of basic theory.
extension of the finger positions
is
developed
in this
book. The thumbs are trained to pass under and the hands over; leger lines enter the musical picture; the pedals introduced; les-
sons
in
chord analysis presented,
etc.
preceded by short technical exercises which, subtle illustrations of
how
Consistently impressive
Most of the pieces are in
many
artistry;
melodies
THE
alter-
nating between the hands which integrate with the figure-pat-
and
styles
comed by
its
the
PIANO
MODERN COURSE FOR places
accent
the
musical awareness right from the
on in-
books deal with numerous touch
and the innovation has been and teachers alike. Two books
technical features junior musicians
in
imaginative regard for encouraging
finger-drills consist of familiar
terns of well-known studies. The
logical
its
development; highly stimulating
cases, are
to practice.
TUNEFUL TECHNIQUE These melodious
in
troductory stage of keyboard tuition.
wel-
SCALE SPELLER
Many young
pianists play the scales
knowledge of
considerable worth by teachers
board vals
CHORD
by rote without having any
has been found of augmenting the pupil's key-
their construction. This speller
practice. The
and prepares
in
book includes the study and
the student for the author s
writing of inter-
CHORD
SPELLER.
IT'S
SPELLER
The purpose of
"Every Lesson «r Something
this
ing the Dominant
publication
is
FUN MEETING MUSIC
.
.
.
New" the
Modern Way!
to present the Triads (includ-
and Diminished-Seventh chords) in a manner that will enable the pupil to read, write and recognize them by sight and sound. It may be used in conjunction with the "First Grade Book."
a, WILLIS
MUSIC
CINCINNATI, OHIO
eo.
