Home › Music › Hanon

Music · Piano technique

Hanon: The Virtuoso Pianist, all 60 exercises

The complete Hanon, free: all sixty exercises of The Virtuoso Pianist newly engraved, each on its own page with a play button and a metronome speed you can set, a PDF for every exercise and the whole book as one PDF. It is out of copyright, so print as many copies as you like.

Download the whole book (PDF) Start with No. 1

The book: 149 pages, A4, about 19 MB, with Hanon’s preface and every printed instruction.

What is Hanon?

Charles-Louis Hanon (1819–1900) was a French piano teacher in Boulogne-sur-Mer. His book of sixty finger exercises, first published in 1873, became one of the most widely used technique books in piano teaching, and it still sits on music stands around the world.

The idea is simple. Take a short pattern, play it in both hands, move it up the keyboard one note at a time and bring it back down. Each pattern picks on a different weakness: the fourth and fifth fingers, stretches, trills, passing the thumb. The book then moves on to scales and arpeggios in every key, and finishes with repeated notes, thirds, sixths, octaves and tremolo.

Part I: 1 to 20 Part II: 21 to 43 Part III: 44 to 60 How to practise

Part I: the preparatory exercises

Exercises 1 to 20. Twenty patterns for the five fingers, all in C major. Each one takes a one-bar figure up the keyboard a step at a time for two octaves and brings a mirrored figure back down, both hands playing the same notes an octave apart. This is the part most people mean when they say “Hanon”.

1The first patternThe famous opening figure: a skip of a third, then steps up and back, stretching between the fourth and fifth fingers.PDF
2Third and fourth fingersA figure that turns back on itself to make the third and fourth fingers work independently.PDF
3Second, third and fourth fingersTwo skips up, then the hand steps down and straight back up through the second, third and fourth fingers.PDF
4Third, fourth and fifth fingersEach bar starts by rocking between two neighbouring notes: the left hand’s fifth and fourth fingers on the way up, the right hand’s on the way down.PDF
5All five fingersA zigzag that uses every finger in each bar.PDF
6The fifth fingerThe little finger keeps coming back to the same note between each of the other fingers: right hand on the way up, left hand on the way down.PDF
7Third, fourth and fifth fingers againRising broken thirds, then steps back down, for the third, fourth and fifth fingers. Hanon singles it out as especially important for them.PDF
8All five fingers: broken chord, then zigzagA broken chord up and one step more, then a zigzag back down, using all five fingers.PDF
9Stretching the fourth and fifth fingersAfter a skip of a third the figure climbs in a zigzag, with a stretch between the fourth and fifth fingers.PDF
10Trill preparation: third and fourth fingersEach bar ends with the third and fourth fingers alternating as in a trill: left hand on the way up, right hand on the way down.PDF
11Trill preparation: fourth and fifth fingersThe same idea moved to the two weakest fingers.PDF
12Thumb to fifth finger stretchOpens the whole hand from thumb to little finger, then works the outer three fingers.PDF
13Third, fourth and fifth fingers in broken thirdsThree falling thirds, each starting a step higher, then two steps up, for the third, fourth and fifth fingers.PDF
14Trill preparation: third and fourth fingers (2)A second alternating figure for the third and fourth fingers.PDF
15Thumb and second finger stretchBroken thirds climbing a step at a time through the whole bar, opening with a stretch between thumb and second finger.PDF
16Third to fifth finger stretchA stretch between the third and fifth fingers, with short turns that keep the third, fourth and fifth fingers busy.PDF
17Three stretches in one barStretches between the thumb and second, second and fourth, and fourth and fifth fingers.PDF
18All five fingers in steps and thirdsSteps and skips of a third alternate, so every finger plays in each bar.PDF
19All five fingers: a sixth, then thirdsA leap of a sixth between the thumb and fifth finger, then thirds and steps that bring in every finger.PDF
20Stretched broken chordsThe last of Part I: an octave-wide broken chord with stretches between the second, fourth and fifth fingers.PDF

Part II: towards virtuoso technique

Exercises 21 to 43. Longer patterns of sixteen notes to the bar, then the thumb passing under the hand, all 24 major and minor scales, the chromatic scale, arpeggios in every key and the stretched seventh-chord arpeggios.

21Third, fourth and fifth fingers: a longer patternThe first exercise of Part II, now sixteen notes to the bar: what the left hand’s third, fourth and fifth fingers do in the first beat, the right hand mirrors in the third.PDF
22Third, fourth and fifth fingers, with a skipThe same aim as No. 21, with a skip of a third added to the figure in the first and third beats.PDF
23Third, fourth and fifth fingers in stepsThree notes up and back by step, played twice, then a leap of a fifth and more steps that double back.PDF
24Third, fourth and fifth fingers: steps and thirdsA four-note figure of two steps and a third, played three times in a row, then one answering group a fourth away.PDF
25All five fingers: runs and turnsThree notes up by step and a third back, started a step higher each time, then a short turn at the top.PDF
26All five fingers: a falling sequenceThree notes up by step and a third back, played three times, each time a step lower, then two notes alternate like a short trill.PDF
27Trill preparation for the fourth and fifth fingersThe fourth and fifth fingers alternate for six notes in a row in the second half of each bar, preparing the trill that comes later in the book.PDF
28Third, fourth and fifth fingers: a repeated figureA four-note figure of a skip and two steps, played twice, then a leap of a sixth and a zigzag back.PDF
29Trill preparation for all five fingersEach pair of neighbouring fingers trills in turn.PDF
30Trills on the thumb side and little-finger sideThe trill moves between two pairs of fingers: thumb and second, then fourth and fifth.PDF
31All five fingers, with stretchesAfter an octave leap, one finger keeps returning to the same note while the others step away from it, widening the stretch to a sixth. Twelve notes to the bar, in three-four time.PDF
32Thumb under the second fingerThe first thumb-passing study: only the thumb and second finger play, so the thumb tucks under on every other note.PDF
33Thumb under the third fingerThree notes up, then the thumb passes under the third finger to reach the fourth: the same move a scale uses.PDF
34Thumb under the fourth fingerFour notes up by step, then the thumb passes under the fourth finger to play the fifth: the longer pass a scale needs.PDF
35Thumb under the fifth fingerThe widest pass of all: the thumb turns under straight after the fifth finger. Hanon stresses that this exercise matters a great deal.PDF
36Thumb under: another patternAnother thumb-under figure: the thumb starts every group of four notes, so it passes under twice in each bar.PDF
37Thumb under while other fingers hold notesEach hand holds three keys down without sounding them while the thumbs alone play, passing under the held fingers.PDF
38Getting ready for scalesOne-octave runs starting from each note of the scale in turn, in parallel and then in contrary motion: the last step before the scales themselves.PDF
39The 12 major and 12 minor scalesEvery major scale, each followed by its relative minor in both the harmonic and the melodic form, four octaves up and down with a closing cadence.PDF
40Chromatic scalesThe chromatic scale with the hands an octave, a minor third and a sixth apart, then in contrary motion, with a second fingering suggested for legato playing.PDF
41Arpeggios in all 24 keysTriad arpeggios through every major and minor key, each running up four octaves and back.PDF
42Diminished seventh arpeggiosDiminished seventh chords played as arpeggios, starting from each white key in turn, to stretch the fingers apart.PDF
43Dominant seventh arpeggiosThe same stretching work on dominant seventh chords, again from each white key in turn.PDF

Part III: the virtuoso exercises

Exercises 44 to 60. Repeated notes, trills, thirds, sixths and octaves, scales in thirds and octaves in every key, and the long tremolo study that closes the book.

44Repeated notes in threesPart III opens with each note struck three times, the third, second and first fingers changing on the key.PDF
45Repeated notes in twosEvery note of the scale is played twice, each time on a different finger, with six fingerings to learn in turn.PDF
46The trill for all five fingersA long trill study that hands the trill from one pair of fingers to the next, ending with Thalberg’s trill, which shares its two notes among three fingers.PDF
47Repeated notes in foursEach note struck four times, with the fourth, third, second and first fingers changing on the key.PDF
48Detached thirds and sixths from the wristA wrist study: repeated thirds and runs of thirds, every one struck with a fresh lift of the wrist, then the same in sixths.PDF
49Stretches: first to fourth, second to fifth fingersBroken sixths played by the first and fourth fingers, then the second and fifth, to widen the stretch between them.PDF
50Legato thirdsSmooth double thirds in a rocking figure, then a C major scale in thirds and the chromatic scale in minor thirds.PDF
51Getting ready for scales in octavesRepeated octaves from a loose wrist, then scale figures and chromatic scales in octaves, in preparation for the octave scales.PDF
52Scales in thirdsScales in double thirds in twelve keys, the ones Hanon counts as most used: nine major and three minor.PDF
53Scales in octaves in all 24 keysEvery major and minor scale played in octaves, two octaves up and down.PDF
54The fourfold trill in thirdsEach hand trills in thirds, so four notes trill at once, moving up and down the scale; special fingerings follow.PDF
55The threefold trillThree notes trill at once: two in the right hand, a fourth apart, and one in the left.PDF
56Scales in broken octaves in all 24 keysEvery major and minor scale with each octave split into its lower and upper note. Hanon adds that it prepares the wrists for the tremolo.PDF
57Broken arpeggios in octaves in all 24 keysTriad arpeggios in octaves through every key, zigzagging rather than running straight: two chord notes forward, one back.PDF
58Sustained octaves with detached notesEach hand holds an octave down while its inner fingers play three short repeated chords inside it.PDF
59The fourfold trill in sixthsBoth hands trill in sixths at once, the first and fourth fingers alternating with the second and fifth, followed by scale passages in sixths.PDF
60The tremoloThe last study in the book, long and demanding: a tremolo that Hanon wants as fast as a drum roll.PDF

How to practise Hanon

Start slowly, with a metronome. Hanon’s own instruction for the first exercises is to begin at 60 beats a minute and work up gradually to 108. Every exercise page here has his two speeds as buttons beside its speed slider.
Listen for evenness. Every note the same length and the same loudness, in both hands. Play one hand alone (the buttons do that for the playback too) if one hand is covering for the other.
Keep it short. Five or ten minutes as a warm-up is plenty for most players. Hanon asks for the whole book every day, which takes about an hour; few teachers ask for that now.
Stay loose. Hanon tells you to lift the fingers high. Many teachers today prefer a relaxed hand and a small, quick finger movement. If your hand or forearm aches or feels tight, stop and rest; pain is never part of the exercise.
Change it once you know it. Common variations are a different key, a dotted or swung rhythm, staccato, or one hand loud and the other soft.

Hanon’s preface

The preface as printed in the 1900 Schirmer edition, in Theodore Baker’s translation.

Read the preface

The study of the piano is now-a-days so general, and good pianists are so numerous, that mediocrity on this instrument is no longer endured. In consequence, one must study the piano eight or ten years before venturing to perform a piece of any difficulty, even at a gathering of amateurs. Now, how few persons are in a position to devote so many years to this study! It often happens, therefore, that for want of sufficient practice the playing is uneven and incorrect. The left hand gives out in passages of slight difficulty; the fourth and fifth fingers are almost useless for lack of special exercises for these fingers, which are always weaker than the rest; and when passages in octaves, in tremolo or trills occur, they are usually executed only by dint of exertion and fatigue, so that the performance is very incorrect and wholly wanting in expression.

For several years we have labored to overcome this state of affairs, making it our aim to unite in one work special exercises which render possible a complete course of pianistic study in far less time.

To attain this end, it sufficed to find the solution of the following problem:

If all five fingers of the hand were absolutely equally well trained, they would be ready to execute anything written for the instrument, and the only question remaining would be that of fingering, which could be readily solved.

We have found the solution of this problem in our work “The Virtuoso-Pianist, in 60 Exercises,” etc. In this volume will be found the exercises necessary for the acquirement of agility, independence, strength and perfect evenness in the fingers, as well as suppleness of the wrists—all indispensable qualities for fine execution; furthermore, these exercises are calculated to render the left hand equally skilful with the right. Excepting a few exercises, to be found in several methods, the entire book is our personal work. These exercises are interesting, and do not fatigue the student like the generality of five-finger exercises, which are so dry that one requires the perseverance of a true artist to summon up courage to study them.

These exercises are written in such a manner that, after having read them a few times, they can be played in quite a rapid movement; they thus become excellent practice for the fingers, and one loses no time in studying them. If desired, any of these exercises may be played on several pianos simultaneously, rousing a spirit of emulation among the students, and habituating them to ensemble-playing.

All descriptions of difficulties will be met with. The exercises are so arranged, that in each successive number the fingers are rested from the fatigue caused by the one preceding. The result of this combination is, that all mechanical difficulties are executed without effort or weariness; and, after such practice, the fingers attain to astonishing facility of execution.

This work is intended for all piano-pupils. It may be taken up after the pupil has studied about a year. As for more advanced students, they will study it in a very short time, and will thereafter never experience the stiffness which may have been previously felt in fingers or wrists; this will render them capable of surmounting the principal mechanical difficulties.

Pianists and teachers who cannot find time for sufficient practice to keep up their playing, need only to play these exercises a few hours in order to regain all the dexterity of their fingers.

This entire volume can be played through in an hour; and if, after it has been thoroughly mastered, it be repeated daily for a time, difficulties will disappear as if by enchantment, and that beautiful, clear, clean, pearling execution will have been acquired which is the secret of distinguished artists.

Finally, we offer this work as giving the key to all mechanical difficulties. We therefore consider that we are rendering a real service to young pianists, to teachers, and to the directors of boarding-schools, in proposing their adoption of our work, “The Virtuoso-Pianist.”

About this edition

This is a new engraving, made in 2026 by Digital Greenhouse from the G. Schirmer edition of 1900 (Schirmer’s Library of Musical Classics, vol. 925), with the English text translated from the French by Dr. Theodore Baker. Every exercise was transcribed from the printed page and then proof-read against it a second time, independently.

The notes, fingering, dynamics and printed instructions follow Schirmer. A few things are set differently, because of how the music is drawn here: passages Schirmer prints with an “8va” line are written at the pitch they sound; where Schirmer lets the right hand wander onto the lower staff, the right-hand staff changes clef instead; and a handful of plain misprints (a fingering 4 where only the thumb can play, one misspelt word) are corrected.

Hanon died in 1900 and Theodore Baker in 1934, so the music and the English text are in the public domain in Australia and in most other countries. This engraving is free too: print it, copy it and share it, for lessons, classrooms or yourself.

Questions and answers

Is Hanon’s The Virtuoso Pianist really free?

Yes. Hanon died in 1900 and the English translator, Theodore Baker, died in 1934, so the book is in the public domain in Australia and most other countries. This edition is newly engraved by Digital Greenhouse and is free to print, copy and share.

Which Hanon exercises should a beginner start with?

Start with Part I, exercises 1 to 20. They stay in C major on the white keys and each is one short pattern. Hanon suggests taking the book up after about a year of lessons. Learn No. 1 slowly at 60 beats a minute before adding No. 2.

How fast should Hanon exercises be played?

For Parts I and II Hanon gives a metronome range of 60 to 108 beats a minute: start at 60 and raise the speed gradually once the notes are even. Later exercises print their own ranges, some as slow as 40. Each page here shows the range for that exercise.

How long does the whole book take to play?

Hanon says about an hour once it is mastered. Most players use only a few exercises at a time as a warm-up.

Are Hanon exercises still worth doing?

Teachers disagree. Used for a few minutes with a relaxed hand, they are a quick, structured warm-up that builds evenness. Drilled fast with tension for long stretches, they can cause strain, and scales, arpeggios and real pieces teach more music. Small doses, played carefully, is the common advice.

Can I download all 60 exercises as one PDF?

Yes. The complete book is one PDF on this page, and every exercise also has its own PDF on its own page. They are set for A4 paper and also print well on US Letter with “fit to page”.