Tag: Debate

As we saw from responses to last week’s post, the exercises of Hanon are a hotly debated topic. It seems there is nothing more provocative than uttering the name of Hanon to a group of pianists and teachers in a social media forum. The ensuing discussion about the use of the exercises in The Virtuoso Pianist so often becomes tainted by bias and polemic and ends up like a debate on religion, with neither side coming out the winner.

Those against cannot imagine there might be such a thing as “using” the blank patterns we find in Hanon for various specific reasons, rather than “doing” Hanon as it says on the tin. I think it is very important to make this distinction. Many drugs developed by pharmaceutical companies are found to be useful for other purposes and end up being prescribed off-label. This principle can certainly be applied to Hanon’s exercises.

The Controversy

Modern piano teaching has moved away from an insistence on mechanical exercises devoid of musical meaning, and away from the notion of lifting and isolating the fingers from the rest of the hand and the arm (as Hanon’s exercises will do if you follow his instructions to the letter). By spending hours drilling the fingers in the way Hanon indicates, we not only risk wasting practice time that might better be spent on music but – much worse – we ingrain muscular habits that will almost certainly be detrimental and potentially injurious.

The Middle Path

It can be convenient to use the blank, easy-to-remember (and totally harmless) note patterns we find in the exercises as vehicles to easily experience choreography or coordination between the hands so that these skills can be transferred across to repertoire. Enlightened teachers who do this are using the note patterns for something very specific, and are therefore not using Hanon as per his instructions. Like all exercises, it’s how we do them that matters.

Given the interest this topic generates, I’ve compiled some some thoughts from a few well-known pianists and teachers on their view and approach to Hanon.

If you’d like to find out more about my approach to using exercises then you may be interested in joining my online workshops on Sat 6th Feb in which I’ll demonstrate how I use Hanon and other exercises (more information is available here).

William Westney

Hanon exercises are certainly not the be-all-and-end-all of technique, but they do offer some benefits. What makes them useful is the varying patterns, which are challenging and help the fingers differentiate and get “smarter.”. Like anything else, their value depends totally on how we approach them, what our intentions are.

I think it’s a mistake to hammer through them heavily, stiffly, metronomically, pumping the arm up and down on every note, etc.! I prefer to use them freely as a warm-up, senza tempo, with deep tone through arm-weight and complete legato, checking constantly for comfort, relaxation, and a feeling of finger strength. When a particular finger feels weak, stop and just let the arm “wallow” more deeply for a while in that note (this feels great). This is not a mechanical approach; it’s more a kind of exploration of how the fingers happen to feel that day, and a way to give each one a chance to “wake up” naturally.

Click here to view William’s videos on revisiting warm-ups which include a demonstration of how he uses Hanon as part of a simple, effective warm-up regime.

Ilga Pitkevica

When I have a pupil who definitely would benefit from developing good technique, but is not enjoying neither scales nor etudes, then I find Hanon’s Exercises to be a true “saviour”. Of course, the selection of exercises I prescribe would depend on a pupil’s needs and the purpose of each exercise would be clearly explained.

For example, I would always use Ex. 58 – for gentle stretching, for warming-up, and (especially if modified), for developing the activity of fingers 2 and 4. Exercises 50 and 54 are also among my firm favourites because playing thirds is always good for finger independence and for voicing skills. Any of Exercises 1-30 are extremely useful for polishing fluidity of wrists while maintaining firm and focused fingertips (this actually works best if to start at medium speed). And exercises 32 – 37 definitely will help sort out any stiff, low or collapsing thumbs!

Click here to read Ilga’s recently blog post or here for her detailed videos lectures on how she uses Hanon’s exercises.

Penelope Roskell

I am not against the occasional use of some of the fingering patterns featured in the exercises but I am strongly against using the entire book as advised by Hanon, for various reasons.  Firstly, the exercises focus almost exclusively on finger action, ignoring more coordinated movements of the whole arm.  Hanon tells pianists to ‘lift the fingers high and with precision until this entire volume is mastered’.  A high curved finger action is the main cause of pianist’s injuries and should be avoided: fast semiquaver passages should be played from the key surface with a light, fast finger action. 

Hanon recommends playing the entire book daily to build stamina.  We acquire stamina, not by repeating the same exercises with a faulty technique, but by learning how to coordinate the body so that the stronger muscles of the upper arm and shoulder support the action of the fingers, and by learning how to use the minimum of physical effort for the best musical result.   

I know several pianists who do play the whole book daily while reading a novel!  However, the repetitive nature of this work can encourage a pianist to dissociate his piano technique from any musical considerations, such as quality of sound and musical gesture, and to disengage the mind and the emotions when playing.  I feel that the time spent could be used more profitably in practising a varied range of short exercises which have a clear musical purpose and are directly relevant to pieces that are currently being studied.

More information on Penelope’s approach to technical exercises is available in her book The Complete Pianist.

As we’ve seen from our recent articles and postings, there are many different views on the subject of Hanon’s exercises. As a follow on from our previous post in which we featured a few different opinions, we are now delighted to be able to bring you the views of celebrated pianist Peter Donohoe on how he uses the exercises as part of his daily routine.

Mr. Donohoe is a celebrated name among Britain’s elite concert pianists, with an impressive range of recordings and an international performing career dating back to the late 1970s. It is very clear that the ways he has been using Hanon have done him no harm at all! We decided to publish Mr. Donohoe’s response in full, to show that there are those who stand by the exercises and use them to advantage.

I write this immediately after playing through the first two volumes of Hanon’s ‘The Virtuoso Pianist’ – on this occasion extending the range from two octaves to three, and transposing it into Db Major. This version is my favoured one, although I also recommend E Major and of course the original C Major (the latter either in its original two-octave form, or any number of extra octaves up to seven).

This came, as it always does, at the end of a practice session of several hours on upcoming repertoire – to do it at the beginning of a practice session tends to render the practice session less than useful, because any useful technical work tends to prove too tiring for the fingers to function properly afterwards. 

Negative responses to Hanon

I have found that there are three types of negative response to this (all three are paraphrased):

‘A professional pianist is surely way past having to do beginners’ “technical exercises”’

Absolutely not. That would be similar to telling a professional sportsperson that they are past needing to train. Rachmaninov used Hanon throughout his professional life as a soloist, a regime he had adopted as a student at the Moscow Conservatory; if it is good enough for Rachmaninov, it is certainly good for me. (Something similar applied to Liszt, whose regime of technical exercises was extreme; as he pre-dated C.L. Hanon, these exercises would have probably been his own, or possibly Czerny’s)

 ‘You should never practise technical exercises; it makes your playing unmusical.’

This is simply a misunderstanding of both what the exercises are for, and of the true meaning of the word ‘musical’. I have never found anyone for whom there has been a negative effect on their playing, unless they have sprained themselves through over-doing it.

It is possible that labouring on finger exercises could prove ineffective and change nothing, but the notion that they are actually bad for your musicianship is an absurdity. Having good musicianship comes from the heart and mind, not from properly trained fingers.

‘How can you do that? It is so boring!’

I cannot reveal my solution to this, as when I have mentioned it in the past – particularly to students in a masterclass situation, I have always had the feeling that people thought I was making it up. All I will tell you is that I have read a lot of books and seen a lot of TV series and films over the last thirty years or so – ref. Liszt as mentioned above – and I committed the whole of the first two volumes of Hanon to memory when I was about 25.

Using the right exercises for you

An important thing to stress is nothing may be recommended as a formula for all; that Hanon has always seemed helpful to me does not make it a universal panacea. In any case, there are several other volumes of technical exercises that many people have found useful, and Hanon just happens to be the one with which I have been most familiar since I was introduced to it by one of my earliest teachers. 

One should also assess one’s own strengths and weaknesses i.e. are your fingers naturally strong, or is your natural facility based in your wrists or arms? The answers to these questions will determine whether or not Hanon works, or if some other such as Kullak, Brahms or Dohnányi would be more useful. And there is of course the ubiquitous Czerny. But I stress again that doing any of them, or even all of them, will never do anything detrimental to your playing – unless of course you overdo them and cause injury.

More than just strengthening fingers

I think one of the reasons the idea is often received negatively is that they are thought of as merely exercising the fingers for strength and independence. These are undoubtedly very obvious aims – and results – from regular use. However, in my experience, the ability to play chords genuinely together and to play rhythmically have also been major positive results. The main one however has been that finger strength creates an ability to use arm weight rather than relying on the fingers themselves; this gives one much more control over the variety of colour and diversity of sounds one can make. Lastly, but by no means most importantly, it gives one a sense of confidence in performance.

P.S. It takes about the same amount of time for me to read a page of a paperback novel as it does to play an exercise from Volume Two of the Hanon book!