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The gist of it seems to be:



- preliminary work away from the piano or with scales

- learning correct movements for a small enough LH and RH chunk, in alternation

- joining LH and RH maintaining hands independence

- repeating the same the next days before approaching something new

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So, preliminary work aside, since it is clear enough:



- What technique is suggested to choose the chunks and how many chunks to practice from the same piece daily?

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- What technique is suggested to memorize the RH and LH chunks?

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- What technique is suggested to learn the correct movements to play the RH and LH chunk with easy and accuracy?

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- What technique is suggested to have the RH and LH chunks at feel tempo or faster?

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- What technique is suggested to join the RH and LH together while maintaining hands independence (not merely this note goes with that note but independent accurate RH that match harmoniously with LH and viceversa)?

I would replace the word learning on the second item for practising, since it is unlikely that you will learn the correct movements by working in small chunks (in fact the correct movement must take into consideration sometimes a sizeable passage). Ideally you should learn the correct movements by being shown them by a knowledgeable teacher.Use the 7 x 20 rule:(how big are your hands, and does it matter? 7 x 20 minutes  exercise/activities to strengthen the playing apparatus  ways to deal with wide chords  the myth that Richter was self-taught  3 stages of learning  Example: Chopin militaire Polonaise - scientific principles for testing practice methods  Example: Prelude in F#m from WTC1  when to join hands and why HS  practice is improvement  the principle of easy  Example: Chopins ballade no. 4  repeated groups)(Questions about Bernhards method  Bernhards answers  mostly about the 7 X 20 principle, how do you know when you mastered a section, when to use the methods, and when they are not necessary  investigating the reasons for difficult)(Bernhard answers questions and elucidates further about: 20 minutes  practice starts when you get it right  definition of mastery : learned  mastered  omniscience  Aim for easy  final speed in practice must be faster than performance speed  Example: Chopin Op. 10 no. 2  outline  repeated note groups  HS x HT)(Bernhard explains once more about 7 x 20 minutes  Progress is the ultimate decider  How to break a piece in practice sessions  Example: Satie gymnopedie  importance of planning  aim at 100 pieces per year  Example: Bach Cm WTC 2 -)(more details: learned  mastered omniscience  why repertory must be paramount  how to work on 20 pieces per month  a case for easy repertory  importance of discipline and of having a plan  analogy of mastering a piece and making wine  musicality is ultimately good taste  Example: Beethoven op. 49 no. 2- A list of progressive repertory to lead to Rach prelude op. 32 no. 5  mastery is when it is easy)(No skipped steps  Bernhard enlightens further and tells the usual places where students go wrong  Ht x HS)(Pauls report on Bs method. Feedback from Bernhard including: HS x HT  Example: Lecuonas malaguena  7x20  need to adjust and adapt  repeated note-groups  importance of HS  hand memory  7 items only in consciousness  playing in automatic pilot - )(more on 7x20  what it means to master a passage)(alternative to the chord trick  Rhythm variations - repeated note-groups  starting with the difficult bars  how to break down a piece in sessions  ways to tackle speed that do not involve the chord trick)(Does age and practice time matter?  Summaries of the 7 x 20 approach  averages and standard deviations are given for the several numbers  need for a practice diary  how to deal with mastering something and forgetting it next day  what exactly is mastery  the 3 stages of mastery)You dont need to memorise hands separately (except in counterpoint music where it is a must). Instead, memorise hands together. How do you do it, is discussed in these threads:(the basic theory of memory)(the basics  includes the history of the Art of memory)(the details of the process using dozen a day as an example)(why do you teach?  policies and teaching methods pragmatical theory of memory)It depends on the passage and on your phisycality. There are no shortcuts here. If you do not have the benefit of a knowledgeable teacher to show you, then you must proceed by trial and error. Easy and accuracy will be your corroboration that you are in the correct path. The technique is basically experimentation. Have a look here:(How to investigate the best movement pattern: Example Scarlatti sonata K70  How to work out the best fingering. Example: CPE Bach Allegro in A  Slow x slow motion practice  HS x HT  practising for only 5  10 minutes)(How to organise the breaking down of a piece over several days. Examples: CPE Bach Fantasia, Blow Sarabande, Chopin Cantabile; Chopin Scherzo no. 2)(How to break a piece in sessions  Example: Invention no. 1).The chord trick, repeated note-groups and rhythm variations are the most useful tricks to get to speed. However, there is more to speed than just technique, and psychology plays a big part. Have a look here:(zoom-zoom  all about speed playing)(Speed: discussion about gradually speeding up with a metronome or using Changs approach)(Practising for speed  Example: Beethoven Op. 49 no. 2)(More questions on fast speed practice  the eldorado analogy - collection of links)(Speed of scales  the important factors in speed playing - an alternative fingering for scales).(how to play superfast scales)(Speed  the 3 most important factors)(Ultra fast arpeggios  slow practice x slow motion practice  good post by Herve  Abby whiteside is also mentioned)(How to increase speed: slowly using metronome x fast with chord attack  juggling and skiping rope as examples)(improving speed of LH  move the whole LH not only fingers)(speed and muscle tension  3 important components of speed playing)Dropping notes is the basic procedure. But you must also understand about cues, triggers and how to practise in such a way as to create a system of cues and triggers between the hands. Have a look here:(How to gain hand independence  dropping notes)(dropping notes by comparing it with patting head/rubbing tummy)(When to join hands)(Hands together: when and how  dropping notes)(Hands together  dropping notes  when to learn HT and when to learn HS)(hand independence: how to create a cue system and what is hand memory).These threads I am suggesting to you barely scratch the tip of the iceberg (which is getting smaller and smaller thanks to global warming), so after you read them, come back and ask more (bring me your doubts and I will add a few of my own).Best wishes,Bernhard.