Hanon No. 1
C. L. Hanon, The Virtuoso Pianist, Part I, No. 1; Schirmer (1900), as transcribed by Steve Taylor and Javier Ruiz-Alma for the Mutopia Project, music ID 2037. The underlying composition is public domain; this transcription is identified by Mutopia as CC BY-SA 4.0.
Our adapted Hanon score files and their generated score assets are distributed under CC BY-SA 4.0. Changes: excerpted measures 1–4 and 15–18, separate staves for the hands, new layout, and editorial completion of repeated fingering numbers. The original register, pitches, and sixteenth-note rhythm are retained. The surrounding original instructional text is separate from that score adaptation.
Mutopia source and credits · CC BY-SA 4.0
Bach, BWV 846, measures 1–4
Source file: bach_prelude_c_wtc1.ly, from the separate
pianobook project. Its header credits Shay Rojansky, Han-Wen Nienhuys,
Tobias Erbsland, and a version update by Javier Ruiz-Alma; Mutopia ID 5,
dated 2011-09-12. The typesetter’s header places the transcription in
the public domain and lists the underlying edition as “Unknown.”
We preserve the first four measures’ notes and durations, use explicit treble/bass staves, and omit the source’s tempo instruction. There are no added fingerings. This is suitable for an internal sample; identify and compare a historical edition before publication.
Scales and original studies
The C-, G-, and F-major scale fingerings use the conventional patterns already present in Cadenza. The sample distinguishes octave-end fingers from continuation fingers. These are newly engraved examples, not facsimile pages from Hanon. An exact historical scale-edition comparison remains part of publication review.
The two-against-three drills, melody study, held-voice drill, practice routine, and explanatory prose were created for this guide. Their pedagogical review is pending.
Review scope
This sample is for content, density, and engraving feedback. A successful build does not establish musical correctness. Check source fidelity, fingering clarity, comfortable movement, and the usefulness of each listening goal. EPUB packaging is checked automatically; actual Kindle Previewer review remains a separate step.
Phase 4: scales, arpeggios, and chord studies
The four-octave C-major scale and the three one-octave A-minor forms are newly engraved conventional exercises. Both directions are written out. In classical melodic minor, the ascending sixth and seventh are raised and the descending form restores them; harmonic minor retains its raised seventh in both directions. The A-minor scale fingering is conventional; a historical Hanon edition comparison remains pending.
For the C-major arpeggio, the two-octave finger sequences were checked against Michael Clark’s Baylor Piano Basics, chapter 61, “Two-Octave Major Arpeggios.” This is a factual fingering reference only: no Baylor score, illustration, or instructional passage is reproduced. The guide’s notation, rhythm, layout, and prose are independently authored.
The triad-inversion drill, cadence, and Alberti study are original exercises. Their suggested fingerings and practice instructions are editorial choices, not claims about a composer’s fingering. Teachers may adapt chord fingerings to the player’s hand and the musical context.
What this batch does and does not cover
These chapters establish the first playable examples for each topic. They do not yet supply every major and minor key, arpeggio inversion, seventh chord, or accompaniment pattern. The expanded key reference and the remaining Hanon 1–20 material are subsequent batches. No chapter in this review edition is marked publication-ready.
Review the four-octave score’s clef and octave-sign transitions, the melodic-minor return, chord-note alignment, and the balance of notation and explanation on each page. Qualified teaching review and a real Kindle Previewer check remain outstanding.
Phase 4: expanding the key reference
The two-octave G-, D-, A-, and E-major scales use the conventional ascending finger sequences documented in Michael Clark’s Baylor Piano Basics, chapter 30. The major arpeggios were checked against chapter 61; the A-, D-, and E-minor arpeggios against chapter 69. Each source distinguishes the two hands. Our notation, rhythm, registers, page layout, and teaching text are independently authored; no source image or teaching passage is reproduced.
The reference stores a separate, explicit RH and LH ascent for each example. For these symmetric major scales and root-position triads, the return reverses those fingers without repeating the summit. This rule is deliberately restricted to these examples: it does not define melodic-minor pitches, Hanon descending patterns, or every possible arpeggio variant.
Registers and engraving
The two-octave reference examples place the hands one octave apart and keep treble and bass clefs throughout. Captions give the exact starting and highest pitches. This matches the introductory examples. Register choices are editorial; the figures are not facsimiles of the fingering source.
Review boundary
Pitch spelling, major-scale interval order, triad quality, hand spacing, duration, terminal versus continuation fingers, and complete returns are checked automatically. The actual finger sequences have a named external reference, but source comparison and software checks are not a substitute for qualified teaching review. Other keys, inversions, and seventh-chord families remain work in progress.
The notation-reading example and five-finger studies are original teaching material with editorial fingerings. The opening chapters on technique, practice, and routine-building now contain usable guidance rather than opening-only outlines. Their pedagogical review remains pending.
Hanon No. 2 and the next technique studies
Hanon No. 2 uses the same Mutopia 2037 transcription and Schirmer
(1900) source as No. 1. The retained hanon02.ily snapshot
contains both hands. Our adaptations excerpt measures 1–4 and 15–18,
retain pitches, registers, and rhythm, separate the hands onto explicit
staves, and complete repeated fingerings editorially. The adapted score
masters and generated notation carry CC BY-SA 4.0; the
surrounding original teaching text is separate.
Mutopia source collection · Transcription files · CC BY-SA 4.0
The repeated-note, measured-trill, neighbor-note, and turn preparations are original studies with editorial fingers. Their fully written rhythms are practice choices, not prescribed realizations of historical ornament signs. Exact ornament realization in repertoire still requires the selected edition, context, and qualified musical review. The chapter deliberately avoids a universal starting-note rule based only on a composer’s period.
The separate two-octave C-major score has been removed from the published inventory in favor of a shared continuation lesson and the existing four-octave reference. Its editable master remains available as an unused working example. The source-checked key patterns and one-octave hand-spacing rule remain unchanged.
Mozart scale excerpt and chord studies
The K.545 first-movement excerpt covers measures 5–6, checked against
Alejandro Sierra’s Mutopia-2013/09/01-998 LilyPond transcription. An
unmodified source snapshot is retained as
music/sources/K545-1.ly. Mutopia identifies the underlying
source only as IMSLP; no specific historical edition or autograph has
been independently verified for this excerpt.
Our adaptation retains pitches, durations, rests, and LH staccato dots. It omits dynamics, slurs, and fingering to provide a clearly labeled pitch-and-rhythm study. A fixed LH bass clef replaces the brief treble-to-bass change while preserving sounding pitches. Return to the full edition for expressive details. The adapted notation is licensed CC BY-SA 3.0; original surrounding teaching prose is separate.
Source and attribution · CC BY-SA 3.0
The octave fragment, triad-quality comparison, common-tone inversion study, block-and-release drill, broken-shape comparison, and changing Alberti accompaniment are original studies with editorial fingerings. Their explicit note, chord, rest, and duration data share the existing engraving generator. The earlier C-major inversion drill now appears only in the dedicated inversions chapter.
These are developed review drafts, not completed coverage of every key or composer. Further repertoire applications, extended chords, and more advanced octave textures remain planned.
Bach polyphony excerpts
Chapters 40–41 use actual Bach excerpts in three keys: Invention No. 13 in A minor, BWV 784, measures 1–2 and 7–8; Sinfonia No. 11 in G minor, BWV 797, measures 1–7; and the WTC I Fugue in C major, BWV 846, measures 4–7.
The Invention transcription is by Allen Garvin, Mutopia 59, from Bach-Gesellschaft. The Sinfonia is by Olivier Vermersch, Mutopia 200. The Fugue is by Shay Rojansky, updated by Andreas Scherer, Mutopia 4. All three transcriptions are declared public domain by their typesetters. The latter two do not identify their underlying editions.
Source files are retained for comparison. The book preserves pitches, durations, rests, ties, and registers in the selected measures, while changing layout and marking excerpt boundaries. It adds no Bach fingering, dynamics, or articulation. The original short exercises surrounding them have editorial fingers and expressive marks. Practice variations in the prose are explicitly suggestions, not marks attributed to Bach.
The fugue’s source code uses unconventional names for its middle voices; the book identifies them by register as soprano, alto, tenor, and bass. Voice names do not imply a fixed hand assignment in every passage.
These are source-checked teaching excerpts, not new critical editions. Comparison with a scholarly edition or autograph remains part of publication review. The K.332 excerpt added earlier likewise retains an unidentified-edition caveat beside its score.
Movement across the keyboard: sources
The original studies in Chapters 43–47 use explicit note and finger data in the shared engraving pipeline. Their fingerings, practice rests, and hand assignments are editorial. They are exercises for particular movements, not universal fingering prescriptions for every scale or broken chord.
Czerny, Op. 299 No. 35 (retained study master)
The RH opening, measures 1–2, is transcribed from the Peters edition edited by Adolf Ruthardt, plate 6966, printed page 83 (PDF page 85). The public-domain score is available in the complete School of Velocity scan. A source-page snapshot is retained locally.
The example deliberately omits the LH. Sounding pitches and rhythms are retained; an octave line is used across the whole excerpt for readability. The source’s leggiero, dolce, and p are retained with consolidated placement. No RH fingering is printed in these source measures, and none is attributed to Czerny here.
Beethoven, Op. 13, first movement
Measures 51–54 follow Peter Samuelson and Chris Sawer’s Mutopia 299 transcription, which names Schirmer (1894) and Berners (1908) as sources and declares the typesetting public domain. The unmodified LilyPond source is retained locally.
The excerpt preserves sounding pitches, durations, the two independent LH voices, RH staccatos, grace notes, slurs, and sf marks. Layout, hand labels, and closing excerpt boundary are editorial. No fingers are added. The C-minor key signature remains as in the source, including local G♭ accidentals in this passage.
These are teaching excerpts checked against the named sources, not new critical editions. Publication review should include comparison with an authoritative complete edition and a pianist’s review of the surrounding musical context.
Mozart finale and pedal studies
K.332, third movement
The opening three measures follow Mozarts Werke, Serie XX, Breitkopf & Härtel (1878), plate W.A.M.332, printed page 138. The IMSLP edition record identifies the public-domain scan. A snapshot of the source page is retained. Notes, rests, rhythms, f legato, and LH staccatos are transcribed; layout and excerpt boundary change. No fingering or pedal has been added. This historical edition is not presented as a modern critical edition.
Pedal mechanisms and historical context
Yamaha’s guide to grand and upright mechanisms and keyboard pedal overview support the distinctions between damper, soft/shift, sostenuto, and practice pedals. Its Disklavier pedal discussion describes continuous pedal control beyond on/off operation. These mechanical descriptions do not prescribe one musical interpretation.
Ernst Herttrich’s preface to Henle’s K.284 edition discusses Mozart’s 17 October 1777 letter about Stein’s knee-operated damper mechanism. It supports the caution that absent pedal marks do not establish an absence of sustaining effects in Mozart’s playing.
The chapter exercises and timing diagrams are original teaching material. Their delayed changes are deliberately visible slow-practice demonstrations, not composer-specified delays. The whole-tone color study is not a Debussy or Ravel excerpt. Depth, clearing, and style suggestions require listening on the actual instrument and remain subject to pedagogical review.
Repertoire workshop: Bach through Schumann
Chapters 56 and 58 revisit the Bach and Pathétique sources documented earlier. Chapter 58 adds Op. 13/I, measures 1–2 and 11–12, from the same public-domain Samuelson/Sawer transcription (Mutopia 299). Pitches, rhythms, ties, and displayed expression are retained; layout and excerpt boundaries change. Source fingerings are not supplemented.
Schubert: Erlkönig, D.328
Measures 1–3 of the piano introduction follow Ph. Raynaud’s Mutopia 1030 transcription, citing C. F. Peters, Band I. The typesetting is public domain. The excerpt retains pitches, rhythms, forte, the LH slur and wedge articulations. The silent vocal staff is omitted; triplet numbers are repeated for study. No fingering or pedal is added. The separate single-note repetition study is original preparation.
Chopin: Fantaisie-Impromptu, Op. 66
Measures 5–6 follow Guy D. Lederfein’s Mutopia 1693 transcription, naming a Scholtz source; the typesetting is public domain. Notes, rhythm, slurs, and p are retained; pedal is omitted, sextuplets are shown explicitly, and no fingering is added. The first RH sixteenth rest comes from the source’s enclosing opening, outside its reusable phrase variable. This detail is included in our comparison checks.
Schumann: Träumerei, Op. 15 No. 7
The pickup and first two full bars follow Ying-Chun Liu’s Mutopia 504 transcription, citing Leichte Stucke (1900), public domain. Notes, grace notes, internal ties, initial p, and the opening crescendo are retained. Fingering and pedal are omitted. Continuing phrase slurs and the RH inner-voice tie leaving the excerpt are omitted at the boundary. The original voicing preparation is not a Schumann quotation.
Unmodified source files are retained locally. These are teaching excerpts, not critical editions; comparison with authoritative editions and a pianist’s editorial review remain part of publication preparation. The short “Listen closer” notes are observations and listening suggestions, not attributed pianist anecdotes.
Additional reference sources
Czerny, Op. 299 No. 1 — scale-to-leap transition
Chapter 43 now uses measures 1–2 of No. 1, RH only, from
Peters/Ruthardt plate 6963, first music page of the complete
scan. The source page is retained as
music/sources/czerny-op299-no1-source-page.pdf. RH pitches,
rests, forte and printed finger indications are retained; LH and tempo
heading omitted. No. 35 remains an unused engraving master for a
different leap texture.
Schubert: Impromptu in E♭ major, D.899 No.2
Pickup and measures 1–2, both hands, from Mutopia
1551, Ph. Raynaud, Breitkopf & Härtel1888, public domain. Full
source retained in music/sources/schubert-d899-2.ly. Notes,
rhythm and initial p retained; legato label repositioned and triplet
numbers repeated for study. No fingers or pedal added; tempo heading
omitted.
Four-octave arpeggio reference
All 24 root-position major/minor triads use Cadenza’s chord-tone catalog. Conventional finger routes were checked independently against the EIU-hosted charts, with optional initial RH2 on selected black-key roots supported by Joy Morin’s chart. The local EIU PDF and review/arpeggio-reference-notes.md document the review. Engraving is original; no chart layout is reproduced.
Chord construction and symbol terminology for the new chord-color chapter and Appendix C were checked against Open Music Theory: triads and seventh chords, chord symbols, and altered and extended chords. Examples, voicings and suggested fingerings are original editorial studies, not transcribed historical exercises.
Chapters 62–67: repertoire and original mixed studies
Scarlatti K.455, mm.24–26: Knute Snortum, Mutopia 2104, CC BY-SA 4.0. The adapted score retains that license; original teaching prose and independent preparations are separate. Liszt Second Ballade, mm.20–21: Vassily Checkin, Mutopia 236, public domain, source edition unspecified. Debussy Clair de lune, mm.1–2: Keith OHara, Mutopia 1778, public domain, after E. Fromont 1905. Source LilyPond and PDFs are retained in music/sources/batch62-*. The chapter captions identify layout changes and omissions. Mixed Studies 1–3 and all three preparations are original editorial exercises, with proposed fingerings; pedagogical review remains pending.