Hands separate practice often gets debated, but in my view, it’s one of the most vital tools for any pianist, regardless of level. While some may advocate tossing it out for more “efficient” methods, I believe this would be a missed opportunity. Why? Because practicing hands separately reveals much that is otherwise obscured, especially those often-overlooked horizontal musical lines. This is crucial for interpretation. Without this focus, we tend to read vertically on the piano, potentially missing out on deeper musical insights. Click here or on the image to hear me explain a few techniques I use in the early stages of learning a piece.

That said, I’m not suggesting hands separate practice should be applied indiscriminately to every piece or problem. Like any good tool, it’s about knowing when and how to use it. Each piece, each challenge we face on the piano, demands its own approach, and hands separate practice is simply one of the strategies we can use to piece everything together, both technically and musically.

Of course, other techniques are just as essential. Hands together practice, slow practice, and rhythmic exercises all play a vital role in technical mastery. Hands together is ultimately how we will perform, but as Chopin said, "you cannot begin at the end." There are various ways to practice hands together: slowly, isolating difficult areas, or focusing on rhythm to strengthen coordination. Each method has its place in shaping a complete pianist, but without the foundation of hands separate work, the intricacies of these approaches can be more difficult to achieve.

For memorisation, in particular, I find hands separate practice invaluable. Isolating each hand helps me see and learn individual notes and lines more clearly. This heightened focus translates into stronger, more confident performances. Additionally, there’s an under-recognised benefit to this method: the way it allows each hand to rest during practice. When one hand takes a break, any tension that may have built up can be released, something we might not even notice in the heat of a hands-together session. These moments of rest help lengthen practice sessions by reducing fatigue, making them more productive overall and making us aware of any tension that crept up unwittingly.

Incorporating hands separate practice doesn’t mean we have to rely on it exclusively, but dismissing it outright, as some might suggest, limits the scope of what’s possible in our playing. Like any craft, it’s about choosing the right tool for the right moment. Hands separate, hands together, slow practice, and rhythmic exercises all work in harmony, each contributing something vital to the process.

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