This article aims to analyze the use of the study of hands together and separately during practice and its relationship with the development of performance with regard to tempo and acquisition of fluency. In a quasi-experimental longitudinal design, professional pianists and undergraduate piano students learned the Sonata K. 271 by D. Scarlatti over the course of a month. The results showed that both the practice of hands together and hands separate were present in the learning of all participants, and separating hands was a way of simplifying the passage to be practiced. The consistency of practicing hands separately was associated with higher levels of fluency and performance tempo. The intensity of such a strategy, however, was shown to be related to the difficulty of the piece and the expertise of the individual, and the greater the intrinsic cognitive load of the musical material for the practitioner, the more relevant its presence and frequency of use during practice.
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