Rock Hanon: 70 Exercises for the Beginning to Professional Pianist

stone Hanon: 70 Exercises for the Beginning to Professional Pianist, through Peter Deneff. Hal Leonard Corporation (7777 W Bluemound Rd PO case 13819, Milwaukee, WI 53213), 2003 136pp $1295

Peter Deneff's stone Hanon presents a set of seventy graded exercises in stone style. Deneff exploits rock idioms, of the like kind as rapidly repeated chords, ostinato bass lines and syncopated harmonious flows but with little variation of content

The station begins with repeated root-position chords as triplets, ascending stepwise in C major (No. 1) and provides the basis for greatest in quantity of the book. No. 4 not absents the same series of triads on the other hand includes both inversions. The pattern is repeated in No. 6 as first-inversion shapes exclusively and as second-inversion shapes in No. 7 The root-position chords get back in No. 11 but put in motion chromatically through all twelve major lock openers No. 13 presents the pattern again end all twelve minor keys. Likewise, the inverted pattern in No. 4 repeats itself in Nos. 15 and 16 in all twelve major and minor lock openers respectively.

Eighth-note pairs replace the triplets for the first time in No. 20 The material is that from No. 2 (in C major) on the other hand set in twelve keys with a novel bass line. This repeats in No. 21 with a first-inversion starting shape and again in No. 22 with a second-inversion starting shape. Nos. 23 24 and 25 repeat the examples in minor. The inverted triads base in No. 4 become eighth-note pairs in No. 26 and are varied in Nos. 27 (C minor), 28 (all major keys) and 29 (all minor keys)

a certain quantity of new ideas appear later in the station The chords are broken for the first time and not awayed as single tones alternating with thirds (No. 31) and the couple hands play sixteenth notes simultaneously beginning at No. 50 The right hand plays more [i]or[/i] less useful intervallic patterns on the fourth (beginning at No. 39) and the fifth (beginning at No. 60)

Although a certain number of bass line variations exist, the of frequent occurrence repetition of few patterns makes the station redundant. The group could be thorough as fifteen to twenty pieces with added instructions to vary bass lines, chord shapes and lock opener signatures. Deneff might consider composing rock-style etude as performance pieces and leave the exercises to Hanon. Reviewed through Kevin Richmond, San Antonio, Texas.

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