I’ve picked the first two pages of Mozart’s Sonata in Bb Major, K. 281, last movement, Rondeau, Allegro to explore breathing and blocking techniques in the learning process. (These principles can be applied to practicing music from a variety of eras)
Starting a composition is often taken for granted. Sometimes students will land on a first note, for example, with the force a belly plop into a pool. Others will forget there are opening notes, (as the 4-16ths upbeat of Mozart Sonata K. 333 in Bb) They’ll breathe a sigh of relief, once they’ve managed to elude them, moving with alacrity to longer, spaced-out notes.)
Yet, this very “sigh of relief,” can be utilized as a relaxed stream of expressed air to usher in a pleasing opening note or notes.
Naturally, breathing into phrases with ease should be ongoing as a composition flows, so biofeedback becomes a vital practicing ingredient. (I recommend that students keep a journal of awakenings)
Blocking out passages to obtain fluidity is a simultaneous part of the learning spectrum. Thinking in “groups” of notes, especially with fast passages, encourages “fast melody,” instead of chaotic crowds of notes without shape, meaning or contour. Knowing the geography of notes, therefore, is an organizer that helps smooth out phrases (Relaxed arms and supple wrists accompany)
The first video below spotlights the aforementioned practicing areas, adding an awareness of dynamic contrasts/ weight transfer, and the use of solfeggiated syllables (do, re, mi, etc) to follow and absorb voices. (Separate hand practice and voice parceling within a slow, behind tempo frame are recommended)
Play through (still behind tempo)
Chopin, Warm-ups and the Art of Breathing