The exercises proposed in this book are a seemingly impossible task: to prepare musicians to learn composition by referring exclusively to the tonal repertoire. Who in fact could pretend to flourish in the practice of a language that, not content with belonging to the past, is one of the strictest and most restrictive that the West has engendered? However, unlike a particular song or a given bass, these exercises are designed to offer the student a space of freedom more and more important and thus stimulate his creative potential from the beginning of his learning. Such an approach has many advantages. Indeed, it allows: - to realize an immediate fusion between the horizontal (melodic) and vertical (harmonic) dimensions of the music, dimensions that are not opposed but rather complementary - - to conceive the musical work as an organic totality and not simple assembly of various elements, in adequacy with the Schenkerian theories of the tone - - to put in relation the respective roles of the invention and the deduction in the musical creation - - to confront the ambiguous relation between the musical time real (that of the conception) and the time by nature dilated of the writing (that of the realization). It is in this that, even within the framework a priori rigid and outdated tone, these exercises prepare the student to learn the composition. This first volume is intended for musicians beginning their writing studies. It is centered around the elaboration of simple and articulated themes in a progression largely inspired by William E. Caplin's classification. All exercises are borrowed without any modification to the repertoire. However, it should only be used as a model at the time of the correction, which allows the student to appreciate the composer's answers to questions that he inevitably had to ask himself during his own work. of realization. In addition, the most diverse styles are deliberately mixed, the Baroque of a Corelli or a Bach along with the classicism of Haydn or the romanticism of Chopin. Indeed, the purpose of these exercises is not to become familiar with the style of this or that composer but to observe the organic unity which, beyond the vicissitudes of its history, animated the tonal language.