Keyboard methods from the 19th century usually contained numerous exercises that formed a trail throughout the training of a pianist. Intensive study of these exercises laid the foundation for a multifaceted artistic profile. After all, pianists were expected to improvise and compose on a professional level in addition to playing repertoire. For a 19th century pianist, these exercises unlocked various artistic domains.
By studying these exercises, this research aims to develop new possibilities in which musical components in a tonal perspective and relation to the repertoire are again integrated as an important part of a training program. A systematic approach can breathe new life into the cult of improvisation of the 19th century in both pedagogical and creative fields, and also make it up to date by integrating sound material and other contemporary compositional elements.