Often, one fails to master a certain passage to ones liking because long ago, one practiced this passage in a tense or otherwise faulty and ineffective manner. In obnoxious cases even patient slow reworking does not entirely solve the problem. The old approach is too well learned-in and likely, ones fear of performing that particular passage further blocks ones concentration.
A new fingering often solves the matter. In fact, most of the time, the originally chosen fingering is the very cause of the trouble. Additionally, a new technical approach opens the door to an empty brain-box, which will be easier accessible in performance and helps to avoid relapsing into the old, discarded approach.
Bar 196 in the cadenza of the fifth Brandenburg concerto is a good example. (more…)