Excellent ideas. If I may add to those, with any difficult passage, I have found it helps to turn it into an exercise. If you take that pattern and play it in other octaves, other sequences, it will in time become very natural to play. Also, Salzedo edited it so that you play the bottom note with your left hand thumb sometimes, which can facilitate it. And do it in each hand, it gets your brain more accustomed to it.

I practised this so much once that I ended up with my RSI and a sore elbow again and I think tryng to play this strictly to tempo put too much prssure on me – as a listener I wouldn’t object to a lttle rubato in what is essentially the harps’ cadenza and it might take the pressure off the performer and result in an easier, more secure passage.

I heard a marvellous performance of this work, a real dialogue between violin & harp, in the sections and the joins, they’d definately gotten rid of any metronome before they started rehearsing, and I remember not only loving it but vowing not to continue with my own violinist who is a conductor & like to set a strict tempo.

This is marvelous. Thank you so much, Emily Mitchell!

I agree, Emily, using LaRiviere was very helpful for me in developing facility. The more one has played a pattern before, the easier it is when encountered in repertoire.