Get up to speed as quickly as possible. Remember, we are still practicing HS.Playing so fast that you start to feel stress and make mistakes will notimprove technique because you are mainly practicing mistakes and acquiring badhabits. Forcing the fingers to play the same way faster is not the way toincrease speed. As demonstrated with parallel play, you need new ways thatautomatically increase speed and reduce stress. In fact, with parallel play, itis often easier to play fast than slowly. Devise hand positions and motionsthat automatically increase speed; this topic is one of the major contributionsof this book, and will be treated topic by topic later on as it is too big tobe covered here; it involves such specific skills such as thumb over method,glissando motion, relaxation, flat finger positions, arm and wrist motions,etc., and the use of “post practice improvement”. If you do not makesignificant progress in a few minutes, you are probably doing something wrong– think of something new. Students who use the intuitive method are resignedto repeating the same thing for hours with little visible improvement. Thatmentality must be avoided in order to learn faster. There are two types ofsituations you will encounter when increasing speed. One involves technicalskills you already have; you should be able to bring these up to speed inminutes. The other involves new skills; these will take longer and will bediscussed in 15. Origin and Control of Nervousness below.

Technique improves most rapidly when playing at a speed at which you can playaccurately. This is especially true when playing HT (please be patient – Ipromise we will eventually get to HT practice). Since you have more control HS,you can get away with much faster play HS than HT without increasing stress orforming bad habits. Thus it is erroneous to think that you can improve fasterby playing as fast as possible (after all, if you play twice as fast, you canpractice the same passage twice as often!). Since one major objective of HSpractice is to gain speed, the need to attain speed quickly and to practiceaccurately become contradictory. The solution is to constantly change the speedof practice; do not stay at any one speed for too long. For very difficultpassages that require skills you don’t already have, there is no alternativebut to bring the speed up in stages. For this, use speeds that are too fast asexploratory excursions to determine what needs to be changed in order to playat such speeds. Then slow down and practice those new motions.

To vary the speed, first get up to some manageable “maximum speed” at which youcan play accurately. Then go faster (using parallel sets, etc., if necessary),and take note of how the playing needs to be changed (don’t worry if you arenot playing accurately at this point because you are not repeating it manytimes). Then use that motion and play at the previous “maximum accurate speed”.It should now be noticeably easier. Practice at this speed for a while, thentry slower speeds to make sure that you are completely relaxed and absolutelyaccurate. Then repeat the whole procedure. In this way, you ratchet up thespeed in manageable jumps and work on each needed skill separately. In mostcases, you should be able to play most of the new piece, at least in smallsegments, HS, at the final speed during the first sitting. In the beginning,getting up to speed at the first sitting may seem unattainable but, withpractice, every student can reach this objective surprisingly quickly.

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