Hanon-Faber 'The New Virtuoso Pianist' Worksheet — Chapter-by-Chapter Piano Practice for 21-Year-Olds

Instructions

This worksheet is designed to be a reflective guide as you work through the Hanon-Faber "The New Virtuoso Pianist." Use it to deepen your understanding of the technical goals behind each exercise and to connect these drills to your broader musical development. Think critically about your own technique and how you can practice more effectively.

Part I: The Foundation - Exercises for Strength & Independence (Approx. Ex. 1-20)

1. The primary goal of the first 20 exercises is to develop five key qualities in the fingers. Can you name at least three?
   


2. Faber emphasizes a specific physical approach to avoid tension. The wrist should remain __________, while the knuckles should be firm and curved, maintaining the shape of a natural _________ over the keys.


3. Personal Reflection: Choose one exercise from this section that you find particularly challenging for your 4th or 5th finger.
   • Exercise Number:
   • Describe the specific difficulty. Is it a matter of speed, evenness of tone, or finger fatigue?
   • What is one specific practice strategy you could use to target this weakness? (e.g., dotted rhythms, slow practice with a metronome, focusing on lifting the finger).

Part II: Passage Work & Extensions (Approx. Ex. 21-38)

4. These exercises introduce larger intervals and hand position shifts. What is the primary technical challenge introduced in exercises that require stretching the hand (e.g., Exercise 32)?
   a) Maintaining speed while crossing the thumb.
   b) Keeping the wrist and hand relaxed while the fingers are extended.
   c) Playing with a loud, forceful tone.


5. Many of these patterns resemble passages from classical repertoire. Can you think of a composer whose work frequently uses rapid, even 16th-note runs similar to those practiced in this section? (Hint: Think Baroque or Classical.)
   


6. Technique in Focus: In your own words, describe the concept of "forearm rotation" and how it might apply to playing the alternating patterns in an exercise like No. 38.
   

Part III: Scales & The Virtuoso Thumb (Approx. Ex. 39-43)

7. The "thumb-under" motion is critical for smooth scales. What is a common mistake students make when passing the thumb under the 3rd or 4th finger?
   


8. Practicing scales in contrary motion (as often suggested in this section) helps to develop what skill?
   a) Finger speed exclusively in the right hand.
   b) Symmetrical hand movement and coordination between the hands.
   c) The ability to play complex rhythms.


9. Self-Assessment: On a scale of 1 (very clunky) to 5 (perfectly smooth), rate your C Major scale, hands together, two octaves.
   1 2 3 4 5
   What is the single most important thing you could focus on to improve your rating by one point?
   

Part IV: Arpeggios & Wrist Flexibility (Approx. Ex. 44-50)

10. Unlike scales where fingers move sequentially, arpeggios involve larger leaps. The wrist plays a key role here. It should not be stiff, but rather move in a fluid, ___________ motion to help the arm guide the hand to each new position.


11. Music Theory Connection: An arpeggio is simply a "broken chord." What are the three notes that form the G minor arpeggio?
    

Part V: Advanced Virtuosity (Approx. Ex. 51-60)

12. Exercises on repeated notes (No. 51) and tremolos (No. 54) are not about finger strength alone. They are exercises in controlled ____________. A tense arm or wrist will quickly lead to fatigue.


13. Musical Application: Practicing trills (No. 46) with rhythmic and dynamic variations helps prepare you for their use in actual music. How might you practice a Hanon trill to better perform a delicate trill in a Chopin nocturne versus a powerful trill in a Beethoven sonata?
    

Answer Key

Part I: The Foundation

1. Any three of the following: Strength, independence, evenness of tone, speed (velocity), endurance.
2. The wrist should remain flexible (or supple), while the knuckles should be firm and curved, maintaining the shape of a natural bridge (or arch) over the keys.
3. Answers will vary. The goal is thoughtful self-reflection. The student should identify a specific exercise, articulate the problem clearly, and propose a concrete and relevant practice strategy.

Part II: Passage Work & Extensions

4. b) Keeping the wrist and hand relaxed while the fingers are extended. Stretching can introduce tension, which is the primary obstacle to overcome.
5. Answers could include Bach, Mozart, Clementi, or Czerny. Any valid composer from the Baroque or Classical periods known for passage work is acceptable.
6. Answers will vary but should describe a gentle, lateral (side-to-side) rotation of the forearm originating from the elbow. It's used to reduce finger strain by allowing the larger arm muscles to assist in positioning the hand over the keys, making alternating patterns feel more effortless.

Part III: Scales & The Virtuoso Thumb

7. A common mistake is lifting the wrist or creating an accent/bump in the sound as the thumb passes under. Another is twisting the hand instead of moving the thumb independently.
8. b) Symmetrical hand movement and coordination between the hands.
9. Answers will vary. The goal is honest self-assessment. The student should identify a specific, actionable focus point, such as "keeping my tone even during the thumb-under" or "relaxing my left shoulder."

Part IV: Arpeggios & Wrist Flexibility

10. ...move in a fluid, lateral (or sideways/horizontal) motion...
11. G, Bb (B-flat), and D.

Part V: Advanced Virtuosity

12. ...controlled relaxation.
13. Answers will vary. A good answer will demonstrate an understanding of musical context. For example: "For the Chopin nocturne, I would practice the trill very softly (pp) and with a light touch, focusing on evenness rather than speed. For the Beethoven sonata, I would practice it with a crescendo, starting strong (f) and using more arm weight to create a brilliant, powerful sound."