There are a lot of controversial thoughts about Czerny in the internet and i want to make sure i'm taking the right path to be a better player, maybe there is something else that could work for me too, not only czerny, im looking at every options. I mean, wouldnt you be skeptical too if you search in the internet a LOT of people saying that czerny isnt that good, and others saying it could work.. i'm just looking for the most viable ways for me to study.
Although I am repeating myself, I still don't understand why you are trusting information from Internet unknowns against that of your teacher. Why are you seemingly so trustful of Internet posts from people whose skills you know nothing about?
It is not making any sense to me when you have a teacher whom you are paying for instruction and with whom you could discuss this. What will your teacher's reaction be when you say: "Well, people on the Internet tell me ..."?
Well, i actually listened to a performance of MikeN playing a Rachmaninoff prelude which i really liked and i was interested to know his thoughts. I'm paying my teacher for instructions, it doesn't mean that he knows everything about everything, no one does, which is why i use internet for discovering things and gathering information. I don't blindly follow suggestions or instructions, i try to do researchs, and i come with something that could work for me, and refreshing thoughts are always welcome, that's all.
This is a healthy epistemic attitude to take that allows one to grow even in folly because "updating your model of the world" isn't such a strange concept. Appeal to authority as a heuristic to streamline a process can be helpful in the beginning, but too many people "stay there".
And to clarify, I myself am not too "anti-Czerny" or "anti-exercise", but I have a completely different mindset about how and when to use them because I don't directly equate what underlies a technique (direction, physical execution, timing, aiming, aural cuing, proprioceptive cuing, proportion of movement) with musical textures.
If you're actually practicing correctly, you'll be practicing "technique" all the time, exercise or not.
Exercises usually (but not always) tend to systematically provide problems to solve, but they themselves aren't the solutions (or more importantly the thought processes and physical sensations underlying the solutions).
On another forum, I wrote on this same topic with regards to Hanon and mechanical drilling. (Again, I'm not against any exercise per se, but the usual thought processes behind using exercises):
If you're trying to improve strict, physical technique, Hanon doesn't offer anything intrinsic to itself that makes it better than any other material because it is simply a set of "problems" to be solved (See: https://en.wikipedia.org/wiki/Degrees_of_freedom_problem
People are far from lacking in problems, but rather lack an algorithm to figuring out their and consistent executing the required solutions.
The body can solve these problems intuitively, to a certain point just from sheer effort and vague endpoints, but there's a point of limiting returns that prevents notable, sustainable improvement after a certain point. This is because further improvement requires creating a mental-physical model of what it takes to improve with distinctive sensations and endpoints. When actually practicing, the amount of concentration and mental modelling needed far exceeds what repetitive drills encourage. This type of work and concentration, which is what actually makes us improve, is actually something that should be done at all times, and isn't intrinsic to exercises.
For example, to practice Hanon or anything really, in an ideal sense, you need to know exactly where on the key you have to be to smoothly optimize and gradate the leverage between the different fingers that accounts for their different fingers lengths and placement on the hand. Related to that is precise height and forward/backward balance. Knowing what fingers to press on what key doesn't cut it. And then there's the precise timing and interaction with the keys such that you work with hammers so that you are truly aligned behind each key, but maintain forward momentum ballistically (like a series of dominoes) that is spaced out correctly.
If we are actually practicing deliberately, there is almost no time to waste it on drills meant strictly for physical technical purposes (as opposed to musicianship/aural/theoretical drills). The actual physical aspects are usually best done with actual repertoire, which presents more than enough problems that have to be solved. If you need to systematically investigate a particular problem, you're almost always better off coming up with the exercises yourself as you try to analyze the problem. Some sets of exercises can be useful to study as a model to learn from to come up with your own.
I think John Bloomfield's lecture on "How to take a Lesson" is a good introduction to this sort of mindset:https://www2.golandskyinstitute.org/blog/how-to-take-a-lesson-effectively