Hanon piano exercises pdf free download

Not all pianists have the clean, solid technique of Nicky Hopkins, Richard Tee or Bill Payne; but with the right technical exercises, most pianists can significantly increase their 'chops', i. One of the most challenging - and beneficial - technical studies ever composed is Chopin's 'Winter Wind' Etude, Op. Mastering that piece can go a long way toward improving one's 'fingers', but many are not aware of a very helpful supplemental approach - turning the single-note run into double-notes.

After mastering the double-notes, the single-note lines will be significantly easier. This exercise, actually four exercises in one , will give your fingers excellent practice in both single- and double-notes.

This is a challenging exercise that will reward you with strong, significant benefits - stronger and more independent fingers. This exercise is not just for those that want help in learning Chopin's 'Winter Wind' Etude'. This is intended for all pianists who want to improve their finger technique. For dazzling pianistic fingerwork, no composer was more brilliant than Franz Liszt, piano's ultimate virtuoso.

His virtuoso showpieces often included extremely difficult chromatic runs that few other pianists of his time could play. And one of his most difficult pieces was his Hungarian Rhapsody No. This exercise transforms Liszt's single-note run into double-notes, a very effective approach to mastering fast, rippling single-note runs. This exercise, actually six exercises in one , will give your fingers terrific practice in both single- and double-notes.

This, similar to my Chopin 'Winter Wind'-inspired exercise, is challenging but will reward your hard work with stronger, nimbler, more independent fingers. This exercise is not just for those that want help in learning Liszt's Hungarian Rhapsody No. This, along with the Chopin 'Winter Wind' exercise above , are meant to compliment each other , and are excellent to practice in sequence, i.

Elmo Peeler - Elton Exercise No. This exercise is designed to do three things: increase your fingers' independence, strengthen the 4th finger of the right hand, and familiarize you with a common pattern often used by rock pianists, especially Elton John. Originally coming from gospel music, Billy Preston and Richard Tee used it a lot. It is a descending series of chords based upon the Dorian mode. Elmo Peeler - Hold-down Exercise. Hold down those three keys, and while holding them down play E, then G, then E, then G, etc.

If your 4th finger has a tendency to stop holding down the F and to start rising up, then you will greatly benefit from this exercise. Whether one plays Bach fugues or Elton John, a piano or an organ, independent fingers are an essential part of keyboard technique. This little exercise may prove to be one of the most beneficial. To listen, just click: Elmo Peeler - Hold-down Exercise.

Elmo Peeler - Raindrops Exercise. This is called the Raindrops Exercise because in the higher registers it sounds like raindrops. Based upon the beautiful slow section of Liszt's Mephisto Waltz where the melody sounds almost liquid, this technique can be applied to most melodies. This exercise demonstrates that technique, complete with fingering, of course. Use this exercise to improve your technique, while learning a new 'trick' you can use during your own solos.

To listen, just click: Elmo Peeler - Raindrops Exercise. This exercise is specifically designed to help the 4th and 5th fingers gain strength, independence and articulation. The 2nd and 3rd fingers are never used. The Left Hand is a mirror image of the Right Hand. This exercise, similar to but significantly different from the preceding one, is also designed to help the 4th and 5th fingers gain strength, independence and articulation.

Unlike the preceding exercise, the 3rd finger is never used and the thumb does not stay in one place - a little more challenging. Usually used at the end of a piece to draw-out the ending, Dr. John has referred to it as the 'Ray Charles ending'. How could you make the walk-down even longer? This exercise will show you. This contains four different versions of this chromatic walk-down, and will help you gain facility playing this really cool extended walk-down.

Elmo Peeler - Exercise in Double-thirds plus Thumb. This exercise will strengthen and increase the independence of the fingers - especially the 4th and 5th fingers - and improve your ability to play double-thirds. Although the thumb is used in this exercise, it is never used in double-thirds, leaving and for all the double thirds. Elmo Peeler - Exercise in 6ths.

Double-notes can be some of the most challenging requirements of a good pianistic technique. But they can also provide some of the greatest benefit in developing finger independence and strength. This is an exercise in double-6ths that distills the challenges down to a relatively simple but effective 5-bar phrase, to be practiced Hands Separately. Think of this is an extremely simplified version of Chopin's Etude in 6ths.

To listen, just click: Elmo Peeler - Exercise in 6ths. The exercise is intended to develop coordination when playing polyrhythmic tremolos against a straight-eighth left hand - similar to the technique Johnnie Johnson used in Chuck Berry's 'You Never Can Tell'.

It also shows how thirds can be used effectively, both solid and broken tremolos. This includes two versions of the same phrase, one faster than the other, and demonstrates how many tremolo notes should be played per beat and how that number changes as the tempo increases. The second part of the exercise is in the same key and exactly the same tempo as Johnnie Johnson's piano part in 'You Never Can Tell' and uses the same number of notes in its tremolos as he does.

Every note is written out, including precise notation of the tremolos. If you want to become more comfortable with tremolos in the context of boogie patterns, this exercise combines some good, important elements into two bar phrases - and it's fun to play. Many pianists would like to be more comfortable in their note choices when ad-libbing riffs in 6ths, such as walk-downs and walk-ups.

This exercise demonstrates what notes to play in a series of diatonic as opposed to chromatic broken 6ths over I and IV chords, both descending and ascending.

Two exercises are included: one starting the 6ths on the higher note, and the other starting the 6ths on the lower note. There are many ways that great players incorporate these elements into their music. This 8-bar exercise concisely demonstrates some of the most common voicings. This exercise is very specific, addressing just the Left Hand, and is based upon one of piano literature's most famous left hand exercises, Chopin's 'Revolutionary' Etude. One of the most important finger movements is the thumb moving under the 3d and the 4th fingers , encountered in scales, arpeggios, blues runs, etc.

I've taken Chopin's runs that require the thumb to pass under either the 3rd or the 4th finger, and added a few twists and turns to really emphasize that motion. The result is a brief but challenging bar exercise that will improve strength, independence, and control in the 3rd, 4th and 5th fingers of the Left Hand.

As a test to find out whether you need or might benefit from this exercise, play a rapid, descending C major scale. Are the last, lowest five notes perfectly even and articulate, or do they sort of run together and tend to lose their evenness?

If the latter, this exercise will help. Based upon a run in New Orleans pianist Jon Cleary's recording of 'Po' Boy Blues', this exercise will help gain facility in playing broken 6ths, a very important element in a rock pianist's bag of tricks, used by every pianist from Nicky Hopkins to Billy Powell. Complete with fingering, this also includes a Left-hand part very similar to Cleary's own. This exercise is designed to increase strength and independence, especially for the 4th and 5th fingers.

Although it began as an excellent Left-hand exercise, it is also very beneficial for the Right Hand. In triplets in order to stagger the accents among different fingers, this exercise will help normal scales and arpeggios to be more even.

This exercise demonstrates how to add 'twang' to a melody or a solo line. A twang is a type of grace note. The main difference between an ordinary grace-note and a 'twang' is that a twang also includes a higher harmony note often played by the 5th finger.

Performance Notes explain the principle behind 'twanging'. If you'd like to get more comfortable playing 'twangs', this exercise will help.

Arpeggios, along with scales, form the building block of keyboard technique, and we've all spent time practicing the standard arpeggios. However, Keith Emerson found more creative ways to arpeggiate a chord. He wasn't the first; Liszt, Liberace, and others have found ways to add a little 'zip' to arpeggios.

One of them, a particularly good variant, was used only once, in the 5th Chorus. I've taken that method of arpeggiating a chord, and put it into every measure of a bar phrase , based on 'Lay Down Your Gun'. By applying this specific technique to various chords and inversions, one can better understand how Emerson constructed it, and master it through repetition. If you'd like to improve your technique while mastering a non-standard arpeggiation method - certainly one that Keith Emerson liked and used - this exercise should help.

Elmo Peeler - Twanging Exercise 2. This is an bar exercise to further explore 'twanging' , the technique that Floyd Cramer introduced to Nashville during the 's, and the same technique used by all rock pianists.

Although the technique is simple, many players need just a little coaching to really understand the possibilities 3rds or 6ths twangs? To listen, just click: Elmo Peeler - Twanging Exercise 2. We've all seen keyboard players that were exceptionally rhythmic, seeming almost as much a drummer as a keyboardist. Why is it that some keyboardists can turn their keys into rhythmic drums while many others can not?

It's simple - they understand the rhythms that a drummer plays. It's not mystical. Drummers practice rudiments paradiddles like pianists practice scales. And those rudiments are written down and can be learned by keyboard players. Every single measure during the bar pattern uses that particular drum rudiment to help the pianist ultimately become relaxed and comfortable with the Left-Right coordination required for very rhythmic keyboard playing.

The exercise is in three parts :. As in Paradiddle Exercise 3. Yes 96 No Yes No This is excellent; I have never heard of Hanon before tonight when I was Googling finger exercises for piano.

Thank you very much!!! Yes 93 No Follow this composer Be informed by email for any addition or update of the sheet music and MP3 of this artist. Similar items. For Piano. Published by Alfred Music. By Charles-Louis Hanon. JavaScript is required.

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Composer :. Charles-Louis Hanon - Piano solo 7 other versions. Brigham, James -. The first bar of the ascending and descending passages are edited together here so they can printed on just two sheets.

Hanon Condensed - Exercises 1 to So why do I need this book? The whole point is to make it easy to read and to reduce page turns - less is more! In the full version the first 30 exercises take up fifty pages whereas here there are three exercises per page for the first 20, then two per page for the next 10, reducing the fifty pages to just twelve.

I initially produced this for my own use only but figured that others may like to take advantage of what I've done. Does this mean that the print is just smaller? No, not at all. If you are familiar with these exercises you will know that they are repeated patterns which ascend and descend for two octaves diatonically.

To condense and simplify them and consequently eliminate an enormous amount of page turns I have shown: the all-important fingering on the first pattern as per the original ; then the repeated second pattern; then 'changeover' patterns between ascending and descending - which are sometimes slightly different; then finally the last pattern of each exercise which again is often very slightly different.

Makes a good warmup! A Willis best-seller. The famed Hanon exercises have been specially edited, annotated and arranged by John Thompson.

They've also been given new titles e. Exercises are sequenced so that in each successive exercise, the fingers are rested from the fatigue caused by the previous one. Translated from the original French, this Masterwork edition includes the complete Exercises and is clearly engraved for easy reading.

The comb binding creates a lay-flat experience that is perfect for students and performers. Hanon's original introduction is included. He recommends that a student have at least one year of experience before starting this book. The disk contains varied styles of accompaniments including pop, classical and jazz for Exercises