Professional Documents
Culture Documents
Hanon
eliminate
repetition
useless drudgery
and monotonous
,-
to
with sound
musical training.
To
rhts
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
Hanon
of the hands
in contrapuntal
formo
problem without
The perseverance
and courage
literature
also to
study
the entire book may be played in about one hour and wilI be found invaluable
in
suggested
development.
the different technics from sim pie bass and chord accorn-
mastered,
in Hanon.
necessary
aded by inter-
artistry.
The Publishers
nuances
the development
(crescendo
anddiminuendo
of style and artistry. Vary the touch for each exercise, ~or instance:
4. martellato,
the 'hammered'
stroke.
the approximate
a base-ball.
At the first tempo (M.M. 60) retake the beIlows
measure. When
at the beginning
of the
Book
~o 1
by
"Al\IPCO"
HANON
ACCORDION
~I.M.
J:
60 -108
fl
r-.
mf
1 .
.
(-
fl
--=:::I
4~
=====
j
7f
_.
_ .
_
<\
iiiI"""'"
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s...!....
"
2
_
1.. ~
._." ..
Repeat
:;t
5-!....
,-
:J.
-i.mjl
......:......
---
-\~
-"
1 2_.~._,
.-
~-
-"
,/
1 2
>
~'
4-
1 ~.
Close
.'~._
:J.
-~
I
i
.-
5 4
:=- ) ir
-;
1 2
:J.
4
.fI-
,I
Pu 11
;;:
1 2.
..1 2
I~
D.C.
-4
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.
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
This study given A minor l:armonization by additon of the Arnatural ) minor scalc in the
Ie f't
hand.
, mf
2 II .
'132
-41'-
43'1
5
1 ,
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.......
i3.S.
Sempre
1 2
..
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--- .......
fl
~~1
~1
~~
5
1 2 ._
5
12#-_
5
j!:2
.
-:;t
-:;t
2~ 5 ___
---
5
.2
5
2 ._
1 _;;..
'.
I,
:.
2 1
fl
-=2
5 2 1
5 2
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"
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.:
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707-46 !.
~~-:;J
LI'
Exercise speci al Iy des igned to develop equal strength between the 4th and
(descending) as ez st s between the 1st and 2nd (ascendugj.
th fingers
41
3 ~
<
-5
z .
;it~~
5
2._
5
2
fl
I
,
41
..
707 -46
++
TTT
4
;it:J.:J.
Rhythmic
hand notes.
1 5
5' 3
<
-----
1~_.
~--
....
--.,
---
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,..
-----
1:'-
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1 _
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<
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707 -46
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1 5
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15
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1 5
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<
14
....
'-'
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-6-
.
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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
,
6
154535~5
1
...
<
..
::
....
5 4
3 .
..
1 5
15
1 5
.
..
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t---
r-
1.1
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c,.....
c-
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f-l
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.
707-46~
.....
--
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c-
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c-
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t....
C-J
5_1
. - .
- -
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4
1
L,..-..I
10
Th s exerci se transposed
into G for mastery
flcxibility,
and independence
of alI fingers.
,,
fl .
1 3
~
:..../
1 3
,1
;.
~../ ~.i
::"
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;,
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<
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~-
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-- ....
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:.;
7t
313
:J
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l.f'-
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.... ....
M
---+---+-
-+
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---
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:J
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1 3
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I ...
fl
i=I::::I::::i
!.~
.,..
5
....
.......... 71
7
Further technical
companiment.
fJJ.J.
~ .. s
<
~. ..
.. 4~
-I
.:
r
1 Z
"
.,
.-
.:
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&:
2 1
2 1 3
41
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707-46
7
IR.
--
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7
IR.
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2 1
====
-....!......21
5
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r
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in th
,\ 5
'~:J
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fJJJ
.:
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development
r'
+
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12
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,
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<
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o
o
o
o
o
::
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.'
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1 ;1
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3
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1 2
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3 5
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4
N
1 ;1
ti.
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e
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7i~T7
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5
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7f ~
2
.,.
--.- ,
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4
1
13
Preparatory
10
..
.,
1 5
<
7
:l
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154
I~
1 5
1 5
liiII""'"
7!
--
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5
5
1
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1 2
5
1
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5
5 1
5 1
z
3
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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1z
5~
..,.
a
1 2
~~
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5
2._._
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,...
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3 2
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5 4
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5
.2
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5
5
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5 2
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5
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4
2
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2 1
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lIiIi::I
.
707-46
.,;
:3
-
2
c;
-U
3
15
Further technical
1 3
~~
study in D embracing
12 , .
.
-,
.. .-
513
-~
1 ~ 3 1
-- - -
5 1
1 ~ 3 1
1 3
b:i::*:::t
<
... ,
'.., ...
5
"1
5
1 3
<
!'1!
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r ,
fl~
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5
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153
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5 3
..
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1 5 3
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153
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1
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v
707-46
-zt
3
1f;
3 1"
1 "
31425345
13
5 2
3 "
13"
352
5 2
1
3 "
5 2
1 3 4
5 2
1 3 "
.6J-
~
~
707 46~
t>
M
#"
t--- c- t- t.--
17
Further
trill study. (3rd and 4th fingers ascendng, 2nd and 3rd fingers descending)
1
1~434354
14
2 '\
1
1~
of the black
keys. (Further
dcvelopment
of melodic thirds.)
1 2 1 3
121324351213,4351213
15
\/
1 "
"
~ ft
<
1 2 1 3
2 1 3
.====
~
c.---
2 1 3
2 1
"
++
5 3
~ 1
,l:r
1t-
--
t.--
____
M
iR-
r-
t---
2 1
5 3
2 1
5 3
..
.-
.-
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2 1
5 3
:3
.-
_..-
fl .
5 3
2 1
1 2 1 3
1 3
..
,, :
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3 2
...... - .
M
R.
j,.......-I
c-
4'
}!)7-46
3
1
4
"
5
3
simile
ct c.
19
Expansion between 3rd and 5th ffngers.
1 3
1323543413235
Z 3
16
~iJ.
1 3
~.
1 3
A~5
.fI!2.
- -
5
,,2
5
.-2
5 2
5
1
.
707-46
.-.
.fi. -IL
- T
1_
5 2
52
t:::I::::::i:::
.. .
~~
.....
.IL.-
1 3
~'
5 2
5
..
1 3
----
~~ ~
1......-
!-
l' 3
...
~ iJ.
1 3
.:~
<
~.fI!
5 2
... ... .
~
20
Expansion between 2nd and 4th fingers.
17
2 4
..
4
2
!Ir
!ir
~''\
5
.-
'"
_+. _.
4
2..-.
.--.~
1 2
...
""
5
z...~~f:~.~
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2-- _ .~-1"'"_
1 ~~
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4
2~~~~t:~ _-t-r.-.
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t
f-
3
5 4 3 4
.:
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1 2 4
:
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<
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1 2 4 3 5 '\
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2
t.
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2 1 _
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3 2
l!'Ioi...
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5
1
~2
. '"
7U? 46
...
-~
...
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1
-4
21
study in contracting
fingers descendng.)
the hand. (Between 1st and 3rd fingers ascending, and 3rd and 5th
1 2 <\
It
18
2 <\
12<\
1'-
r_
,.. ,..
---
....
5
11"
4
2.
,.. ,..
li'" li'
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1 _ .
5 "
"".:..
!I 4
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4
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4 2
-.,.
4 3
:.
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5 4
707 -46
--
L....J
----
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!ir
!li'
---
.-
---
1....-1
4 3
542
4 3
11'
----
l._ ...
4
5
~ .
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---
4
1 2
124
1 2
1 l
3 5...i 2
.- .M
35423
4-
.
~
For exerci se in the remete keys, this study may be transposed to .C* by reading the same notes,
employ~ngthe signature of C#, seven sharps,
22
Exercise
~
JJ.
19
~~
"
1:~'r
11 :
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<
,
5 3
3 "
7
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41
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ti: r. ~
M
.1
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1--=;"'~._~
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.13
"7
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".. "..
~
5
1
5-!
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li 1 3
1=1::1:I
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5 1 3
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1
fi-
5 1 3
!ti
1== -
513
5 3 "
-41
l'
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li
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5 o
- "
_+
r.
1 JJ.
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5
_1
tJ
5
1 ...
3 "
fl-
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:::: M
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153
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2
-- .... - ...
M
.-.
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M
If.
11'
11'
11'
,.
1
:71
10746
Gb
Exercise
Transposed
23
~.
2"
5
"
20
3 "
2 4
1- 2 "
"
3 "
"
-,
213
707-46 -
"
5 "
2 1
5
5 "
1 2
"
"
5 " 2
3
5 "
1 3
24
Introducing
(M.M.
21
J : 60 to 108)
.. ..
1
~::~
: : :...
..
".
..
...
... ..-
<
"
..
'"
".oo
Sempre' B.S.:
3 2
.~
3 2
.,
.!.
3.....!
.. .,
2
~2
l- i.
==::s
-.
;,
2_.#
707-46
.f!
...-
.....,
"~.-
--
5
2 ..
__
...-
- - ., --.
.,
1_
...
t'
<
,
-
5_1
synchronizing
!..---~..
5
~ff!:
~~.---
25
--
5 4
~ ~--- ..fI-. _.
.~--.
2
342
... -.--5
5 4
...fI-~.
!..:..
.-.iL!
..
.I!
- .. 1.
~ ~.
.;! '\
I
~
5 4
5 4
---
"
..--
707 -46
... .
-
-,J ..
.. - - .-
..
5 '\
- '-
5 '\
_.4
.-
-#
....
- ... -
-e-
.:e:
~ ~-,j'"
~:J~~
26
Exercise to develop fleetness in the left hand staccato.
I,
<
...
~
~
(
'fi- ti
.,
,. r
:1
3
3
r" r"
1 3
.3
..
!.L"!--'-._,
_ .
1!
3 ...
iiIII"'"
_.3_ ._
l'
i- i
3~
:M
..
... ...
=r f f
4.
.!..~~:.~.~~.---
1.~ ..
,
'-
r
~
li
1F
,r
!..it--.__ !.~.!.
,. ,. ,. ,. ..
_..
-..l.~_--'_..!. ----~
.- ~. - !.!
2_. ...._--
...
~~
..
-r -r- -r
1
- -
-,
,.
....
4-
22 .
~
3'
! .
.
r
707-46
r r r
27
~
-,.-! z 1 ! ! ! .
lr~~t --!-~E~Ej:f:....
"
4 3
5 4
3
3
3
,3
._,~l_Z
__l!~~
'*".~.
5
'1*'."
~._,~!_.1_.+
,
... ... ..
r r r r
3
.,.
..
~!_.1.:.
- 1 _.-.L
. - -'1*-5 -"
_ 1
-.
.........
!..4L!_
........ -...
ti- :r- =f 4-
r r
""(T'
5
.. 3
5
.4
l' T
1 3
~1
5 3
5 "
1 ~
.,.
r
3
,.
.,.
_ 1
,. ,.
........
r r
... ...
-:
= :r
-;
"
1 3
5 "
4-
5 3
... ...
r
r r ,,
41
<
5
4
5 3
1!
.........
<
...
5
-_4
....
4-
-Er
<
707-46
[I
-e-
28
23
.'~
1 5
15'\3~3'\3
P;.'. s. siinpre
...:
1 5
.. -.-
-- --
11--
'\
...----....---.. ..
I
'\
1 5
1 5
<
--
'
1 ~
1-
1 5
SjijI""'"
....
5
1
707-46
li'
~
....
29
~
5 '"
'" 5
j!:.
~.*.
_.
5
1
4
!. !*..
.. .-
_.
-._
. JL
..
......
5
.. 1
I
t
, .... - ...
(
f1
..
!1
5 1
5 1
~
4:1
<
...-
....
5 1
S
5
- 1
5
j
t
-.--
.-'--
<
I
'"
~
I
~-5
li
-.
'*
3
7t+--r
707-46
30
24
.-..- ....-.
"-ij.
'"
31
3 '"
-- .,.--
...
fJ
.2
5 3
'.
3 4 2
.....
r.
5-.;::.
3 '" 2
1
5 3 '" 2
3 \
1
2
....
2
'"
...
2
707-46
'"
3'"
.~
,.
5 3 '" :l
-w
3 4 2
<
B.S. sempre
,,!.2
t:~
3
.!.
....
.<
- - 3
I..
4
~.
.:'--.2
t~
2
.--,--3
I~
2
~!.!
~t
.!.