Our Selection of Pieces in Instrument Education

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Choosing the right work is vital in a student's development. As educators, we are sensitive about choosing works that will eliminate the deficiencies of our students by identifying the points that our students need to develop musically and technically. In order to guarantee a few extra points in exams, which is one of the biggest stimulators of the education system in our country, we direct our students to the right works so that they can complete themselves throughout their student life, instead of directing them to works that they can dominate in their areas of strength or saying yes to the requests of our students in this direction.

We may have difficulties in convincing our students, who sometimes attend our classes at an advanced age, and sometimes grow up at a very young age, about the most appropriate works for them, which they need to work with under the influence of the period and environment they live in. The closer we get to the pieces they want to play with passion, the more we interrupt or delay their plans according to them. In such situations, "my friend played this piece last year", "I want to play a prelude-fugue in minor tonality", "everyone is playing this piece anyway, can't I just play another piece?" etc. We get so many answers. Dear young people, if everyone must study a certain piece or if your teacher insists on some pieces, could these choices be because they will solidify your foundation and provide a stronger musical and technical background? A year before or after your friend… Major or minor? The answers to these questions with approaches such as "this is the piece you will work on", "you have no right to speak", "whatever I say will be done" not only undermine the self-confidence of the students, but also prevent them from being the right role models for the teaching path they will follow in the future. We can overcome these difficulties with a sweet persuasion process.

Fortunately, we are very lucky as pianists. We have an endless repertoire. Therefore, we sometimes have the chance to present works that will enable our students to develop separately from the exam or concert repertoire. However, it is impossible for me to make the same evaluation for the competitions. Especially in big competitions, you may encounter obligatory works that you need to interpret with what your technical and musical infrastructure offers you, far from your field of dominance, where you can express yourself in the best way. Therefore, one day you may be alone with the works that you ignored at a young age, avoided stealing, or were put on your way as a difficult step. Maybe you will say that we will learn when the time comes or when necessary, but I will remind you how much your awareness and awareness of your approach to subjects will increase and develop when you read a book for the second time. Come and be eager to embark on difficult journeys at the right time with the guidance of your teachers. Playing a piece a second time is like reading a book a second time. When you revisit a piece you have played in the coming years, you cannot even predict what you will add to it and how mature your approach and interpretation will be. In this case, you will have the chance to be one step ahead of the competitions you will prepare for and the auditions you will participate in after your studentship process.

There is one more point that I would like to underline about the selection of works and that I think it is going in a dangerous direction. Thanks to the self-sacrificing approaches of our esteemed faculty members, their work, and the confidence they put forward in what our children can do, we witness that especially advanced works begin to be played at a young age. When these works are performed, the younger the performer, the greater the impressiveness of the performance. Of course, the expectation from an advanced technical piece at this age is that it will be played at the required tempo without disturbing the integrity and structure of the piece. However, as the ages get older and the works keep pace and the advanced selections continue, expectations begin to change. Beyond the performances where only the fingers are displayed very quickly, performance expectations are formed in which the identity, musical details and character of the work are fully revealed. However, since the time required for personal and emotional development and the speed of learning the works are not proportional, we unfortunately start to move away from listening to impressive performances. Be sure to review this situation, dear young people. Playing works that are suitable for both your emotional development and your technical capacity does not diminish you, on the contrary, it elevates you.

Dear students; First of all, I would like to reiterate my advice that you should familiarize yourself with the pros and cons of your profession, and secondly, use the great comfort that your student years offer you. Learn lots of artifacts. In the company of your professional doctors, that is, your teachers, go over what you lack and walk with pleasure the information given to you and the path shown.

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