I – V
1 – 8(1)
This piece may be learned in sections.
From the very beginning, start counting as 1 + a 2 + a rather than 1 2 3 4 5 6.
Play the F and C major scale, arpeggios, and chords prior to each practice session.
Practice all broken chords as blocked
Once opened, use subtle wrist gestures to play such that there is hand weight transfer on the not being played.
Where blocked chords are used, use a wrist gesture on every measure, so that the tone is controlled and never over-powering.
This method was suggested by Christopher Norton
All chords must be played with ½ depth touch.
Each RH slur and staccato scales must have a < and >.
If the Grace notes become inarticulate, use the above practice method to warmup
For such fast pieces tell my students to practice the entire piece staccato once daily as warm up so that clarity is maintained and fingers don’t become clumsy.
Aim to achieve brilliance in this piece
Think of the 8 bar phrasing.
Bring out the scherzo character in the B (mm 9-16). Think that the treble and bass are having a conversation, a rather humorous and mocking conversation,
Save the last bit of dynamic edge for the Coda playing around with V and I. Always think in 4 bar chunks.
It may be wise to count in longer cycles of 4-bar groups as 1 -2 – 3 – 4 so that the bar lines don’t interrupt the flow.