There is a vast and mostly under-utilized repertoire of etudes for viola that can help us refine any technical, musical or stylistic aspect of our playing. These pieces are short (mostly 2-4 minutes in length), unaccompanied, and may be suitable for players at beginning through advanced professional levels. Many are original to viola, others are transcribed from a different instrument (mostly violin). Most are called Etudes, but others go by related titles (Caprices, Studies, Exercises). While some are strictly technical in focus, many of these works can be perfectly attractive for a performance setting. The purpose of this database is to connect you to pieces that can help you grow in your playing, no matter your level of experience and training.

The pedagogical lineage of viola is strongly tethered to violin playing. My earliest years were as a violinist; most viola teachers started out this way, as did their teachers, and so on. A limited segment of violin etude repertoire has become standard fare for violists, including Wohlfahrt, Mazas and Kreutzer, but the material available to us goes far beyond these offerings. We do not need to rely solely on these transcriptions and on this 18th/19th century style of playing. There is a wealth of material originally intended for the unique character of our instrument that explores a richer stylistic tapestry while helping build technical mastery.

Violists are faced with another challenge in our development, which is the relative scarcity of our repertoire at the intermediate and early-advanced levels. It can be difficult to find progressive material leading up to our most demanding concerto and recital repertoire; all too often young players are in over their heads with Walton, Hindemith and Clarke, without the appropriate foundational layers to their playing. The etude repertoire in this database can fill in those gaps between different levels of solo material, and can also provide the necessary connections between our ears and hands to approach the predominantly 20th and 21st century styles from which most of our playing comes.

Lastly, I hope this database serves as a springboard for you to discover a nearly unlimited amount and variety of material for years and decades of independent exploration, to keep your relationship with your instrument always fresh and inspired.

- Anthony Devroye, editor