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 possble. When

a natural

Hanon

procedure to practise approximately

wrote his celebrated

studies, it was consdered

ten years before being able to play any piece of even

rnedum difficulty. The science ol pedagogics,

in keeping with the modern tempo, has attempted

eliminate

repetition

useless drudgery

and monotonous

,-

as much as possble 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 studes. In presenting

accordon

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 artst is consderahly

aded by inter-

this book, we believe we have added a new chapter to the progress of

and a great ad 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, egato, the absolute binding of alI notes.

No. 2. staccato, the crispo light touch.
No. 3. leggiero, the enunciated
O.

4. martellato,

touch between egato 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

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

fl

r-.

mf

1 .
.

(-

fl

--=:::I

4~

=====
j

7f

_.

_ .
_

<\

iiiI"""'"

'I

s...!....

"

2
_
1.. ~

._." ..

Repeat

:;t

5-!....

,-

:J.

-i.mjl

......:......

---

-\~

-"

1 2_.~._,

.-

~-

-"

,/

1 2

>

~'

4-

1 ~.

Close

.'~._

:J.

-~

I
i

'. _.~... ~~.-_.~ ~.:..-

.-

5 4

:=- ) ir

-;

1 2

:J.

4
.fI-

,I

Pu 11

;;:

1 2.

..1 2

I~

D.C.

-4

Each exercise has for it's airn, t he mastery of a spec if'ic di ff icul'ty, The player is earn~s~ly adv~sed
to mastcr each study befcre progressmg
to the ncxt. Thr oughout the book, the repet tio n slgn
on the second Iast measure indicates a D. C. from the first mcasure.

7l'7-46
Ent ir e Book Copyright
1943
l ntcr nat ional Copyright
Secured

by ACCORDION

MUSIC PVBLISHlr-;G
Made in C.S.A.

CO.,46

Greenwich

Ave.jNew York,N.Y.
AlI Rights
Reser vcd

This study given A minor l:armonization by additon of the Arnatural ) minor scalc in the

Ie f't

hand.

Repeat many times for

fluency in the form)
2 5 ~ 3

, mf
2 II .

'132

-41'-

43'1

5
1 ,

..

.......

i3.S.

Sempre

1 2

..

..

--- .......

fl

~~1

~1

~~

5
1 2 ._

5
12#-_

5
j!:2
.

-:;t

-:;t

2~ 5 ___

---

5
.2

5
2 ._
1 _;;..

'.

:. :. fI-.,. -.:f:. fI. .

I,

:.

2 1

fl

-=2

5 2 1

5 2
'-"';" 1

"

.. ..

~1

"*"

..

---

..

...

5
__ 2 1

'1

~I'

'*

...

-;

7T

-;

~4t

2-

09-

This exercise transposed

into F to develop fluency on one black key,

(Re peat many t ime s )

12543234
1 l

12

.:

5
..

__

mf

,. ,. ,.

~
I

~.!

. i1*- .

5
.

2 1
,

..

5
~ 2 1

!z

----

<

~~:j.

'.

~ 1

5 2 1

,. ,. ,.

'-:;"1

.-.:;,. 1

.-

t::=::::I

""-lI

,.

.. .".

...

-. -. -.

707-46 !.

~~-:;J

LI'

Exercise speci al Iy des igned to develop equal strength between the 4th and
(descending) as ez st s between the 1st and 2nd (ascendugj.

th fingers

41

3 ~

<

-5

z .

;it~~

5
2._

5
2

fl

I
,

41

..
707 -46

++

TTT
4

;it:J.:J.

Rhythmic
hand notes.

bass and chord accompaniment

1 5

5' 3

<

-----

1~_.

~--

....

--.,

---

_.

,..

-----

1:'-

.!

1 _

__.,.~

1 _

._~ -

..

:;

1~--

14

<

fJ

...
M

-fi#'-

7i

.!

I
<

707 -46

-.- . -!

-fi#'-

i~

j-

5
1....

iiiI""""

1 5

1 5

!.

:;J

.:

15

;J -\

....

~ 5

1 5

...

<

14

here added to insure absolute evenness inaU the right

....

'-'

..-

-6-

.
~

u
A variation on the th emc of NO.5. On cach study he sure to repeat
the fingcrs have developed fluency in the formo

,
6

154535~5
1

...

<

..
::

....

5 4

3 .

..

1 5

15

1 5

.
..

the first measure until

M .
~

t---

r-

1.1

~~

c,.....

c-

1 5

f-l

._~

5
F-l

.~ ~

__

..,..

41-1

5
~l

5
1

!i

.~

<

t---

5 1

, :t

.
707-46~

.....

--

5 1

c-

.~

c-

5 1

5-!,.

t....

Are you keeping your hand in the correct position?

though gras ping a base bano

C-J
5_1

. - .

- -

*1

4
1

L,..-..I

Remember the fingers shonld be clawed as

10
Th s exerci se transposed
into G for mastery
flcxibility,
and independence
of alI fingers.

of F~ with all fingers.

,,

fl .

1 3

~
:..../

1 3

,1

;.

~../ ~.i
::"

.~

;,

'

<

I :

...

~-

.. ' .fL.*-_.

.fL

'

-- ....
M

:.;

7t

313

:J

-fi-

.fL

,1

"

::.

..

;.

"

l.f'-

-.

.... ....
M

---+---+-

-+

_.

'--

M
---

<

---

.'

<

..

.,..

I...

~4

..

:J

:J

....

I-

1 3

I~~-

I ...

fl

-:;.~~~rrif 1"'-'" ....

Strive always forstrength,

i=I::::I::::i

!.~

.,..
5

....

.......... 71
7

Further technical
companiment.
fJJ.J.

~ .. s

<

~. ..
.. 4~

-I

.:

r
1 Z

"

.,

.-

.:

-I

-I

<\

._#_F -\- .

-t-

-fI'.

&:

2 1

2 1 3

41

~
<

.4

~,i,j

S-::. I

5_1

i
S 1

~ 1

707-46

7
IR.

--

...- .....
7
IR.

..

:-::::.

~~~

r- r

..

Z 1

'I==:~ -

2 1

====

-....!......21
5

-4 2

~
I

.\ 2 1

+~

-I

.fL.

1~

~JJ

4-

r-

r-

- =-~- t-=

r
!

;iiiii""'"

'

::-~~

..

Sii""""

~"

<\

--

I.'

-' --t====

in th

,\ 5

'~:J

I ..

'

<

..

z~

fJJJ

.:

in the key of G. Observe the rhyth mic variation

..".*
i"'''

development

r'

+
7J

12

Exercise with preparatory

..

,
~

<

. .
o
o
o

o
o

::

..

1 3

"

.'

"

1 ;1

~~

-.-
3

.-

... ...

--.-

.2...

"

;1

1 2

fj

3 5

~/

4
N

1 ;1

scale form for tlie lcft hand,

':'_a ,.-..__ +-~ ..-.

5

ti.

,..,:.
e

~4

<

7i~T7

/.

;1

--:

.;....!

5
5

71 ...
;1

7f ~
2

.,.

--.- ,

.....

.2...

"
-

... .

5_1

)
~

- 1

.!.

4
1

13

Preparatory

10

..

.,

1 5

<

study for the tri ll.

7
:l

~'

154

I~

1 5
1 5

liiII""'"

7!

--

!"'

..

4'

..

!.

5
5
1

.;:>

:l

1 2

5
1

"
5

5 1

5 1

z
3

707-46

The pIayer is reminded that a brilliant trill depends as much on the evenness of the notes as i
does on speed.

14

This cx er ci se transposed

,
11
I

<

..

1z

5~

..,.
a

1 2

~~

:.. -F

5
2._._

.J-.J-

,...

.1 ~~

--

i-

.......

2"-.-~

~fL.~F- r-:.
2

....

---

1 z 1

3 2
!...
!"; 1..!.

.~~+=t=

1 l

1!~_*a_.

..,

- ~"a~.

4-

...-

5
2

5
1 Z ......

.!.

1
3

\1

5 4
5 4

lj

1 .,

..

into D to develop facility on two black keys.

;::1::.

.:.!;.

1;.f!: . _.
'~l=-~

i~ a
1 z

1 2,;':'

- -

I
t.

<

~~

~~ 1_

_ a_

t~~a

"

- ~!1_

....

_a _ ..,..2 1

5
.2

41-

)..

I
I.

~
~

5
5
_ 2 1

5 2

:iJ

5
~1

4
2

...

..3

2 1

~1

.-.-

- .-

lIiIi::I

.
707-46

.,;

:3

-
2

c;

-U
3

15

Further technical

1 3

~~

study in D embracing

12 , .
.

-,

Major and Minor 7ths.

.. .-

513

-~

1 ~ 3 1

-- - -

5 1

1 ~ 3 1

1 3

b:i::*:::t

<

... ,

'.., ...

5
"1

5
1 3

<

!'1!

-; ,

-z

...

'-;

_ .. _i
:l

5
-'1

..

r ,

fl~

ti.':". .* - ---

...

_a

~1~

..

fl ~

1 .

#.. .*'

1.fL! ... -.

..fL

5
-#-!
.

I!

3 _

1 :. 3

153

.-

<

~ ~
~
4IJ

<

, '4-

153

~-----3

'-;

..

5 3

..

..

1 5 3

I~

153

...

...
1

-~
v

707-46

-zt
3

1f;

Exercise to develop dexterity in thirds.

:s

3 1"

1 "

31425345

13

5 2

3 "

13"

352

5 2
1

3 "

5 2

1 3 4

5 2
1 3 "

.6J-

~
~

707 46~

t>

M
#"

t--- c- t- t.--

17

Further

trill study. (3rd and 4th fingers ascendng, 2nd and 3rd fingers descending)
1
1~434354

14

2 '\
1

1~

Study in A for mastery

of the black

keys. (Further

dcvelopment

of melodic thirds.)

1 2 1 3

121324351213,4351213

15

\/
1 "
"

~ ft

<

1 2 1 3

2 1 3

.====
~

c.---

2 1 3

2 1

"

++

5 3

~ 1

,l:r

1t-

--

t.--

____

M
iR-

r-

t---

2 1

5 3

2 1

5 3

..

.-

.-

_.

!. 1.3

2 1

5 3

:3

.-

_..-

fl .

5 3

2 1

1 2 1 3

1 3

..

,, :

.....-

3 2

...... - .

M
R.

j,.......-I

c-

4'

}!)7-46

This exercise should a l so be

t ud ir'd in Harmonic t h ir d s, viz;

3
1

4
"

5
3

simile

ct c.

19
Expansion between 3rd and 5th ffngers.

1 3

1323543413235

Z 3

16

~iJ.

1 3

~.

1 3

A~5

.fI!2.

- -

5
,,2

5
.-2

5 2

5
1

.
707-46

.-.

.fi. -IL

- T

1_

5 2

52

t:::I::::::i:::

.. .

~~

.....

.IL.-

1 3

~'

5 2

5
..

1 3

----

~~ ~

1......-

!-

l' 3

...

~ iJ.

1 3

.:~

<

~.fI!

5 2

... ... .
~

20
Expansion between 2nd and 4th fingers.

17

2 4

..

4
2

!Ir

!ir

~''\
5

.-

'"

_+. _.

4
2..-.

.--.~

1 2

...

""
5

z...~~f:~.~

1.

2-- _ .~-1"'"_

1 ~~

_ .

_.

...
-=
4

2~~~~t:~ _-t-r.-.
~!.,.
t

f-

3
5 4 3 4

.:
.
.

1 2 4

:
: :

~/
.

<

I~

.,

1 2 4 3 5 '\

--

-~

--

s '\

'"

..

i ~f:~~f~
f--

.-

--

~~

2 ~

f-.

f--'-I--

2,;'

..

~~

Ia.
- !.....
2

t.

.-

--

,
Ii

...

...

~.;.

..

~! 2

2 1 _

..

5
~

5
.. 3

1~

~;'!+1
..

...

3 2

l!'Ioi...

...

-.::.

5
1

~2

. '"

7U? 46

...

-~

...

. -...- .
1

-4

21

study in contracting
fingers descendng.)

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

1 2 <\

It

18

2 <\

12<\

1'-

r_

,.. ,..

---

....
5

11"

4
2.

,.. ,..

li'" li'

,..

J.-,.I

---

"3
1 _ .

5 "
"".:..

!I 4

~~! ..1

4
~

.~

<\

!.

5 4

..:.".2

4 2

-.,.

4 3

:.

<

iiJ"

5 4

707 -46

--

L....J

----

..... ~

!ir

!li'

---

.-

---

1....-1

4 3

542

4 3

11'

----

l._ ...
4

5
~ .

! ,..

---

4
1 2

124

1 2

1 l

3 5...i 2

.- .M

35423

4-

.
~

For exerci se in the remete keys, this study may be transposed to .C* by reading the same notes,
employ~ngthe signature of C#, seven sharps,

22
Exercise
~

in G. Development of fluency in melodic 6ths.

1 5

JJ.

19

~~

"

1:~'r
11 :
~!L.l

<
,

5 3

3 "

7
iR-

~~

41

~~
~

<

...

--

'""

'""

,..
ti: r. ~
M

.1

_.2

Ir

1--=;"'~._~

...

11'-

5
.13

"7

,. ,.

..;.....

5-1

iR-

~
~

".. "..
~

5
1

5-!

...-

..

r-

~1!

".. "..

...

li 1 3

1=1::1:I

}I
~

iR-

'""

. ,.

".

5 1 3

iR-

_.

5
~1_~.

Ir

_.

5".",;;.,..3
1

fi-

5 1 3

!ti

1== -

513

5 3 "

-41

l'

1~.!.~_.

li

!ti

5 o
- "

_+

r.

1 JJ.

3... 1" 3_.

~.

5
_1

tJ

5
1 ...

3 "

fl-

15"

"

7t

53:.!

-41

:::: M

"

153

!ti

"..
2

-- .... - ...
M

.-.

~.7T
M

If.

11'

11'

11'

,.
1

:71

10746

This exercise may be transposed into

of Gl,. six f lats.

Gb

by reading the same notes and employing the signaturr

Exercise

for the development of dexterty

Transposed

23

in one octave arpeggi08.

~.

into E minor, employing the Harmonic minor formation.

()

2"

5
"

20

3 "

2 4

1- 2 "
"

3 "

"
-,

213

707-46 -

"

5 "

2 1

5
5 "

1 2

"

"

5 " 2
3

5 "

1 3

24
Introducing

16th notes in the bass to develop perfect

(M.M.

21

J : 60 to 108)

.. ..
1

~::~
: : :...
..
".

..

...

... ..-

<

"

..

'"
".oo

Sempre' B.S.:

3 2

.~

3 2

.,

.!.

3.....!

.. .,
2

~2

l- i.

==::s

-.

;,

2_.#

707-46

.f!

...-

.....,

"~.-

--

5
2 ..
__
...-

- - ., --.

.,

1_

...

t'

of the two hands.

<

,
-

5_1

synchronizing

!..---~..
5

~ff!:

~~.---

25

--

5 4

~ ~--- ..fI-. _.

.~--.

2
342

... -.--5

5 4

...fI-~.

!..:..

.-.iL!

..

.I!

- .. 1.

~ ~.

.;! '\

I
~

5 4

5 4

---

"

..--

707 -46

... .
-

-,J ..

.. - - .-

..

5 '\

- '-

5 '\

_.4

.-

-#

....

- ... -

-e-

.:e:

~ ~-,j'"

~:J~~

26
Exercise to develop fleetness in the left hand staccato.

I,

<

...

~
~
(

'fi- ti

.,

,. r

:1

3
3

r" r"

1 3

.3

..

!.L"!--'-._,

_ .

1!

3 ...

iiIII"'"

_.3_ ._

l'

i- i

3~

:M

..

... ...

=r f f

4.

.!..~~:.~.~~.---

1.~ ..

,
'-

r
~

li

1F

,r

!..it--.__ !.~.!.

r- -r- -r- -r-

,. ,. ,. ,. ..

_..
-..l.~_--'_..!. ----~
.- ~. - !.!

2_. ...._--

...

~~

..

-r -r- -r
1

- -

-,

,.

....

4-

22 .
~

3'

! .

.
r
707-46

r r r

27

~
-,.-! z 1 ! ! ! .
lr~~t --!-~E~Ej:f:....
"

4 3

5 4

3
3
3
,3
._,~l_Z
__l!~~

'*".~.
5

'1*'."
~._,~!_.1_.+

,
... ... ..

r r r r

3
.,.
..
~!_.1.:.

- 1 _.-.L

. - -'1*-5 -"

_ 1

-.

.........
!..4L!_

........ -...
ti- :r- =f 4-

r r

""(T'

5
.. 3

5
.4

l' T

1 3

~1

5 3

5 "

1 ~

... ... ... ...

.,.

r
3

,.

.,.

_ 1

,. ,.

........

r r

... ...

-:

= :r

-;

"

1 3

5 "

4-

5 3

... ...
r

r r ,,

41
<

5
4

5 3

.,. .,. -r- -.:

1!

.........

<

...

5
-_4

....

4-

-Er

<

707-46

[I

-e-

28

Review of the technical worz in F.

1

23

.'~

1 5

15'\3~3'\3

P;.'. s. siinpre

...:

1 5

.. -.-

-- --

11--

'\

...----....---.. ..
I

'\

1 5

1 5

<

--

'

1 ~

1-

1 5

SjijI""'"

....

5
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