In my experience, both direct and observed, the technique learned and mastered from repertoire does translate to other repertoire. Supplemental exercises aid the process. I forgot to mention that orchestra parts were a big part of this process and provide many etude-like passages, along with chamber music and concerti. It was done on solo pieces alone.

I don’t know how you can call Bochsa etudes a complete survey of technique, except perhaps the limited technique of that time. It is clear that he neglects the left hand consistently instead of having it work equally to the right hand. He gives, in most etudes, the left hand standard accompanying figures that develop strength but not facility or melodic playing. It also doesn’t help the balance between hands. And I “grew up” on the Universal Method. Some of his Celebrated Etudes are lovely sounding pieces, but again, not balanced between hands. If you aspire to play nothing written later than 1885 or so, they’ll prepare you pretty well. They are also very pianistic in their approach to the harp, imitating Bach and Schubert and other masters. They may have been advanced in that time and frame of mind, pre-Parish Alvars, one might say, but they are certainly inadequate now, except for working up to a certain level and in a certain way.

I advanced very quickly on Miss Lawrence’s regimen, so it certainly was effective given my limited period for intense study. I advanced from the Debussy Arabesque and Pescetti Sonata to Hindemith, Caplet, Scintillation, CPE Bach Sonata, Introduction and Allegro, Mozart Concerto in three years.

Breaking down pieces for practice is not done by everyone to the full degree of one or two beats at a time, and not everyone will create exercises on them, beyond plain repetition. It can be very helpful to do so, as I have explained elsewhere, but creating good exercises requires some ability and knowledge not all may possess. Thankfully, people who have the ability publish them often enough.

The Chopin Etudes may be on a higher artistic scale than most harp etudes, but I have known many pianists who, nevertheless, studied them as etudes precisely to develop their technique. I know of no comparable etudes for harp but Salzedo’s (Five Poetical Studies). I recall etudes by Posse and Schuecker, but they are not that interesting, musically and still favor the right hand. They have charm but are not great music like Chopin. I like Damase’s Etudes, but it seems to me that technically they would mostly prepare one to play his music better.

I’m glad to hear of Steven’s progress, and rounding the fingers is just what I would do to cure collapsing knuckles. I think he’ll find his facility will increase in time as a result.

As others have pointed out in other discussions, it is important when practicing etudes to break them up so one does not overdo one type of motion by practicing it for too long. I further suggest using the left hand to play the right hand’s part an octave lower wherever possible for development.

I always forget about the Passacaglia, because I didn’t learn it young, I learned the Theme and Variations instead. Which edition did you learn, and did you play it with repeats?