C.F. Toenniges 45 Daily Master Studies has been out of print far too long. This method takes you through all of the most difficult keys and patterns systematically in a way that allows you to cycle this method in and out of your daily routine so that you stay sharp in all areas of your playing. Let’s hear from the author:
“As a teacher of 30 years experience in the various branches of the music world I became familiar with the literature in those many departments. This made me realize, as every good teacher does, the lack of proper material, so essential to the development of the honest and ambitious student, trying to conquer the difficulties of the various Band and Orchestral instruments.
Anyone with a fair degree of experience in either Band or Orchestra will have observed how much greater the demands for clean technique are now than they were even ten years ago, and owing to the ever increasing demand for startling effects it must of necessity be so. That being the case, you may rest assured that it will require from day to day more technique to play an absolutely clean job. The axiom “Practice brings Perfection” is undoubtedly endorsed by everyone. But, the question arises ”Practice What?” To practice constantly in the key of “C” will not give the performer the ability to play with great speed and accuracy in the key of “D flat” for we improve only in that which we practice, so it is plainly to be seen that, to become efficient in the key of D flat we must practice in that key.
These technical Exercises were written for the purpose of giving the honest student a panecea for ills of that kind. They are in all keys, so that no key, combination or register is neglected. Anyone who will conscientiously practice them will find them to be “INFALLIBLE” and will derive most wonderful benefits in a minimum of time. They are for the artist as well as for the student in the earlier stages, as it is all a matter of speed, accuracy and dexterity. Although the first few numbers, at first glance, may appear very simple, but if played up to great speed will take great patience and practice to get the same pure tonal quality and evenness in all measures and registers.
Lack of phrasing is usually due to lack of understanding and ability to articulate the various combinations of slurs and staccatos. These exercises must be practiced with all the articulations given, making a tremendous demand on the ability of the student, but, as a reward preparing him for any and all demands in that direction.”