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Practice Technique 27: A Land Of Opposites: The Solution Often Lies in the Opposite Direction

April 10, 2017

Examples:

  1. if speed is the problem, play it way too slow.
  2. if slowness is the problem play it way too fast.
  3. if encountering difficult making a certain connection from the n-1 to n-th note put a indefinite fermata on the n+1-th note before playing the n-th note.
  4. if the problem is in how a certain finger is working, focus on one of the   other fingers.
  5. if an arpeggio is causing difficulty fill in the adjacent notes to form a  scale-like passage.
  6. if a scale is causing difficulty omit notes to change it into an arpeggio.
  7. if the problem is playing something too loud, play it too soft.
  8. if the problem is not playing something soft enough, play it much too  loud.
  9. if the problem is in the details of the rhythm, play the notes all with the same duration.
  10. if evenness is the problem, purposefully distort the durations into other rhythms.
  11. if the problem is bringing out a single voice among many, eliminate the voice entirely.
  12. if the issue is with legato, play it staccato (and vice versa).
  13.  if you think the issue is with what your right hand look first at what your left hand is doing, and vice versa.
  14. if the problem is jumping leftwards on the keyboard to a lower pitch, first move rightwards (like a pitcher winding up in the opposite direction the ball is to go).  Conversely.

Generalizing: if you cannot increase something beyond the point at which you are doing it now, first decrease it dramatically, so that when return to the increased state you develop more mental or physical momentum changing from the lesser to the greater.

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