<![CDATA[The value and application of slow piano practicing]]>Angela Hewitt boldly emphasizes the importance of slow practicing in this brief video segment. She states that everything you do behind tempo should be molded into a faster reading as to phrasing, dynamics, etc. And it goes without saying that fingering is an important component of foundational work such as occurs with circumspect rehearsals at the piano.

I’ve chosen a particular application of slow practicing to the challenging PRESTO Finale of Haydn’s Sonata XVI, Hoboken 52 in Eb. The tricky passage highlighted below is a thread of rapid 16th notes with right and left hand sharing these in broken chord patterns. Because both hands are practically colliding, since there are repeated notes often played between them, decisions about fingering are pivotal to a smooth execution.

My slow practicing, naturally had an analytical component in the blocking stage, which I fleshed out as I took a step-wise approach.

Haydn tricky passage finale

Haydn p. 2 tricky passage finale, presto

LINK: (Phrase shaping in behind tempo practicing)

https://arioso7.wordpress.com/2013/09/15/piano-technique-is-about-flexibility-not-finger-strength/

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