For one lesson, I brought in Paganini’s 13th caprice. It begins with a fingered octave passage in e minor, then comes a variation of broken chords, played in a very high register. There is no room for error in finger placement, and I was leaving plenty of room in this particular performance. Perhaps it was because of my practice methods?
After listening for a minute, Mr. Galimir stopped me and leaned back in his chair. “You know…you learn the opposite of how I learn.”
“What do you mean?”
His pitch rose considerably, forecasting some blistering words. “I mean–that when I have a new piece, I first practice it slowly and carefully in tune. Then I play faster in tune. You–start fast and out of tune and then you play faster and more out of tune!”