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No. 2, 4, 5, 6, 7, 8, 9, 11

Tuesday:

No. 1, 4, 5, 6, 7, 8, 9, 14
No. 2, 4, 5, 6, 7, 8, 9, 15, 16

Friday:
Saturday:

Start in the low octave, line 1, 3, 5, etc., first nine notes only
Repeat at the octave
Repeat in the third octave.
Play in eight note chunks with a quarter rest in between each chunk. As
the week progresses, increase the tempo
Play line 1, 3, 5, etc., low octave, in its entirety with the quarter note to
60, 72, 80, 96, 104, 120, 144
Repeat instructions of Week 5 at the octave.
Repeat instructions of Week 5 in the third octave
Play all lines in a dotted rhythm (long, short).
Play all lines in a dotted rhythm (short, long).
Play entire exercise, slurred, with metronome markings from 60 to 160
to four sixteenths.
The first 10 lines of the exercise may be played at the harmonic (third
partial, i. e. the low D1 will sound A2).

Week 1:
Week 2:
Week 3:
Week 4:
Week 5:
Week 6:
Week 7:
Week 8:
Week 9:
Week 10:
Week 11:

Exercise No. 1

When you begin your study of the Taffanel, you will want to
begin slowly. Here are some suggestions to get started.

No. 2, 4, 5, 6, 7, 8, 9, 13

Thursday:

Wednesday: No. 1, 4, 5, 6, 7, 8, 9, 12

No. 1, 4, 5, 6, 7, 8, 9, 10

Monday:

Daily Routine: Goal = 25 to 30 minutes

by Taffanel and Gaubert

Using the 17 Big Daily Exercises for

Flute

play in four note chunks with a rest in between each group. This will help you learn
the patterns in a relaxed manner. Relaxation is one of the keys to beautiful,
controlled playing. Remember that you can do many of the keys in all three
octaves.

Exercise No. 7

is a measure to 80 - 88.

a time until you have five flats or five sharps. A goal metronome setting

At first play in the key of C. As you progress, add each flat/sharp, one at

Exercise No. 6 - Thirds and Sixths

The articulation patterns at the top of the exercise are excellent. All keys
each day

Exercise No. 5 - Chromatic

Step 1 (Each week use one of the four parts, key wise)
Play eight notes slurred with a quarter rest in between each set of eight.
Move the flute from back to front with each set.
Why?
1. You will learn the pattern.
2. The rest will help you develop muscle memory.
3. Each chunk is about one inch long. (See Sloboda for eye
movement discussion)
4. You will learn that the secret of fast playing is the ability to put
many notes on one puff of air.
5. The rest will teach you to wait for the beat to come up. Most
young players play before the beat.
6. You will develop a relaxed way of breathing through the
continued repetitions.
7. Be sure the timbre (color) of all the notes in each set of eight is
the same.

Part 1 will include keys C through g. (del doM al sol m)

Part 2 will include keys Eb through bb. (del MibM al sib)
Part 3 will include keys Gb through c#. (del lab M al do#)
Part 4 will include keys A through e. (del laM al Mim)

Divide this exercise into four parts.

Exercise No. 4

Learn the diminished triads/ diminished 7ths in chunks. Eventually you will be able
to play them very quickly with ease.

Exercise No. 15 and 16

I prefer to slur to the high note, slur to the low note and repeat this articulation
pattern again. I do this for a sweeping motion and ease of playing in all three
octaves. Double tonguing is good also.

Exercise No. 14

Same advice as No. 10. Make it sound easy

Exercise No. 13

Same advice as No. 10. Be sure you understand what is happening theoretically

Exercise No. 12

Same advice as No. 10. Ultimately this exercise should sound easy and feel easy
too. Think about moving the fingers from the knuckles in a down and up motion
keeping the fingers very close to the keys.

Exercise No. 11

This exercise is best learned in chunks. Eventually we play this very fast. Dotted
rhythms are good too.

Exercise No. 10

at times I have double tongued the exercise-sometimes double, double (a tk on

each note, for rapid tonguing. I prefer the forward, French tonguing which I have
my student practice by saying "thicka.")

Exercise No. 8 and 9