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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Study in A for mastery

of the black

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dcvelopment

of melodic thirds.)

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19 Expansion between 3rd and 5th ffngers.

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21

study in contracting fingers descendíng.)

the hand. (Between 1st and 3rd fingers ascending, and 3rd and 5th

3

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1 2