Exercises

The Taffanel-Gaubert Mèthode Compléte specifies a three-tiered approach to practice –
a) Scales, b) Arpeggios and other common patterns, including long tones, and c) pieces/studies.

​The Daily Practice Cycles below is a strategy for completing the Exercises Journaliers in a way that reflects that approach systematically, thus accomplishing a) and most of b).
This schedule divides T&G into two sections: exercises 1-5, and exercises 6-17. The first section is practiced twice in any 12-day period. This recognizes the primary importance of scale study, at the same time providing for regular practice of other important patterns.

The full set of articulations should be used (by changing frequently during each exercise), and when specified, follow the full circle of fifths.

It can be possible, once you become accustomed to these studies and sufficiently accomplished with them, to complete each day’s work within 30 to 45 minutes. It is not recommended that more time than this be devoted to these exercises.
Remember the body requires periodic rest from these excercises, the cycles are one day each, with the intervening days divided with rest and other practicing.

There are some excellent books available also including but not limited to… (Marquarre, Barrere, Moyse, Reichert.) All contain exercises that can be substituted at the appropriate points where necessary.

Cycle 1
Day 1
Day 2
Day 3
Day 4
Day 5
Day 6
1 – Major Tetrachords
2 – Minor Tetrachords
3a – Scales, duple
3b – Scales, triple
4 – Scales, major and minor
5 – Chromatic Scales
6a – Scales in Thirds
6b – Scales in Sixths
7 – Finger Patterns
8 – Arpeggios (triads, low to high)
9 – Arpeggios (triads, high to low)
10 – Arpeggios (progressions)

Day 12
Same as Day 6
17 – Trills
These exercises should be supplemented with etudes and other technical material that
utilizes the patterns practiced each day. For example, practice “Flight of the Bumble
Bee” on days 6 and 12, Andersen Op 15 #1 on day 9, etc.
Other than duple/triple, these exercises do not introduce very many rhythmic patterns.
For a good source of these, see The School of Articulation by Marcel Moyse. Apply them
to these exercises, especially 1-5.
There are other things that require daily practice as well, that are not included in this
routine. For example, double and triple tonguing requires systematic endurance training.
Many examples of this can be found, but the exercises in the T&G Mèthode Compléte are
highly recommended, especially #184 through 189, and #190 through the end of Part
Three. See also “Etudes Progressives”, #17, #23, and “Etudes de Virtuosite”, #3 and #5.
More advanced endurance studies can also be found in The School of Articulation.

Cycle 2
Day 7
Day 8
Day 9
Day 10
Day 11
 Same as Day 1
Same as Day 2
Same as Day 3
Same as Day 4
Same as Day 5

11 – Broken Arpeggios (prog.)
12 – Arpeggios (7th Chords)
13 – Broken Arpeggios (7th Chords)
14 – Dominant 7th Chords
15-16 Chromatic Patterns