DISCLAIMER: The views and the opinions expressed in this video are those of the author and do not necessarily reflect the views of Virtual Sheet Music and its employees.
Video Transcription
Hi, everyone. I'm Evva Mizerska. I would like to talk to you very shortly about the series of videos we are starting here. It is going to introduce some studies from beginners to intermediate level. And the idea behind it is that in my experience as a teacher, it's quite good to have a selection of studies to work on which are not necessarily from the same book. Very often, you buy a book of studies by one composer, and they may be really good. But they usually cover simply one level of a student. And if you are a beginner, the chances are that after you have learned maybe three, four of these studies, you want to start studying from another book. And you will end up buying loads and loads, which is also fine, obviously, but I thought it would be quite useful to have a selection of tried and tested studies that are maybe not too difficult to play, but very useful for different reasons. I will be choosing one study every month and talk to you about specific problems it covers.
They will be starting with very easy ones. Well, not maybe for the very beginners, but let's say for someone who has had maybe two years of experience of playing, or a little bit less, depends on how much you practice. Those studies may be easy, for example, for the left hand, but not necessarily for the right hand. And for that reason, you may think that, oh, it's a little bit too easy for me. It's just in the first position. But actually, it will be quite interesting for the right hand, and as such, it will be good for slightly less and a little bit more advanced players.
And one more thing why I think it's good to play studies. Normally, we are not very keen on studying the technical exercises. The reason is that we'd rather go straight to proper pieces, something we really know. I understand that, but I remember when I was a year three student, my very keen teacher at the time introduced me to Brahms' Sonata in E Minor. It was really too difficult for me. But I was very keen and very diligent. So I kind of learned it. When I then came back to study a few years later, I spent so much time trying to relearn all the things I didn't do correctly, even technically speaking at the time. Then I sort of wish I haven't had played it then.
Studies are just for that. So you study a specific problem, and I will try to choose pieces that are really nice to play. I mean, they are melodic and something that actually is pleasing to the ear. You can try things, and even if you don't quite succeed to do it in a concert level, it doesn't really matter, because it's unlikely you are going to play them in concerts. But then if there is something specific you're going to learn there, you can apply in harder pieces too.
Plus, even if we are going to start with studies in the first, fourth position, who said this is going to be easy? It's enough to look at Bach's Suites to know that playing in lower positions doesn't necessarily mean it's an easy music to play.
So I would like to invite you to look out for those videos every month. And I will try to talk about different things. If you have any comments, please post them under the videos. Thank you very much and see you soon.
Patricia Fisher* VSM MEMBER *on February 2, 2022 @6:17 am PST
As a cello teacher, l commend you for your explanation because it sounds as though we are of the same mind. Thru the years l've found following the basics of your methodology is the best way to prepare my students. Of course they prefer to begin with their solos and skip the etudes and scales. 😖
Thank you very much for your very kind comment, Patricia! Yes, we do seem to think alike. That's why I try to introduce more "tuneful" studies here, so even if useful, they're fun to play too. A bit like blending in more veggies in the pasta sauce and pretend it's just tomato!