Gershwin’s own performance is lightning fast, but if you listen to the first video in the suggested YouTube recordings, you will hear quite a range of tempos. The edition I use recommends practicing the piece at eighth note = 184, which I personally find both irresponsible and unnecessarily cruel. A more realistic goal may be around eighth note = 160 (quarter note = 80), though there is certainly some flexibility.

The primary deciding factors should be rhythmic vitality, accuracy of the syncopated figures, and the student’s ability to maintain the tempo consistently. I would still follow the advice of the crazy Speedy Gonzales editor and practice with the metronome—but build the tempo gradually from slower speeds rather than attempting warp speed from the outset. Hands-separate metronome practice can also be extremely effective, especially when working out the rhythmic precision and physical choreography of the piece.

Overall character

This is an exciting, high-energy piece and can be a real crowd pleaser when performed with confidence and style. More than many of the other works on the Senior B list, it asks for not only finger agility but also full-body coordination and choreography. Large leaps, hand crossings, and sudden changes of register are visually flamboyant, but they also require considerable technical precision. 

Think in terms of body choreography

The technical demands extend well beyond the fingers. Large jumps and crossings should be prepared through efficient movement of the arms and torso, with the body anticipating where the hands need to go next. Practice the larger gestures slowly enough that the student can develop a reliable physical map of the keyboard. The goal is for the flamboyance to look spontaneous in performance because the choreography has been carefully organized in advance.

Definitely not the “Merrily Stone Small Hand Award”

This piece sits at the opposite end of the spectrum from the small-hand-friendly repertoire on the list. Much of the texture is chordal, with filled-in octaves and ninths that must be played accurately and with accented energy. The spans themselves can be challenging, especially when combined with rapid movement and rhythmic precision. For a student who can comfortably negotiate the chordal writing, however, the payoff is substantial: played securely, the piece absolutely sparkles.

Establish an iron-clad pulse

The rhythmic vitality of the piece depends on a very secure underlying beat. Hemiolas, syncopations, accents, and shifting rhythmic groupings become convincing only when the basic pulse remains unwavering underneath them.  Encourage students to feel the larger metric framework rather than reacting to every accent as though it changes the beat. A strong pulse gives the piece its swagger; without it, the rhythmic complexity can sound merely hectic.

Use the metronome early

Metronome practice is extremely useful, particularly when learning passages that move between triplet-based figures and straight eighth- or sixteenth-note patterns. Work at slower tempos where the student can hear and feel the exact relationship between the competing subdivisions. The metronome is also helpful for preventing technical difficulty in the large jumps from causing unintended tempo fluctuations. As always, the goal is not rigidity, but rhythmic authority.

Take the notation seriously

Gershwin’s score is meticulously marked, with a wide variety of articulation indications: staccatos, tenutos, accents, rests, and combinations of these. These markings are central to the character of the piece and should be incorporated from the earliest stages of learning. Do not allow the student to learn the notes first and “add the articulation later”; the articulation is part of the technical vocabulary of the piece. Precise observance of rests is particularly important in maintaining the dry, percussive quality of the texture.

Differentiate articulations clearly

Encourage the student to make meaningful distinctions between staccato, accented staccato, tenuto, and accented sustained notes. The variety of attacks contributes enormously to the piece’s personality. Practice short passages while exaggerating these differences, then refine them as the tempo increases. Clarity of articulation will also help prevent the thick chordal texture from becoming heavy.

Pedal use

Pedal should generally be used sparingly, as much of the character comes from a dry and jazzy percussive nature. Follow the score carefully: much of the marked pedaling consists of short touches on left-hand bass notes at the downbeat. Where Gershwin specifically indicates more sustained pedal, make that change in resonance audible; it should feel like an intentional shift of color. Avoid using continuous pedal simply to make the chordal writing feel easier or more connected.

I would also argue that brief touches of pedal can be added to selected bass notes when the dynamic rises above forte, particularly when additional resonance supports the larger sound. These pedal strokes should remain quick, clean, and rhythmically precise. Used this way, pedal can add weight and brilliance without sacrificing the crisp rhythmic character of the piece.

Keep accents energetic, not heavy

The many chords and accents can tempt students to produce sound through sheer force. Encourage a more elastic, rebounding attack so that the energy remains lively rather than muscular or labored. The piece should feel percussive and brilliant, but never clumsy.  There may be a couple of exceptions.  For example the first B-flat bass in the Left Hand, as well as the last note of the piece can (and often is played) with a fist (observe Grigory Gruzman's video!).  This is technically easier to produce bell-like sound with more of the hand's weight going into the key, something that cannot quite be accomplished with a finger.

Swagger is part of the technique

This is a great piece for a student who already has some swagger—or is working on developing it. Rhythmic confidence, physical freedom, and a sense of theatrical timing are as important as playing the correct notes. Once the pulse, articulation, and choreography are secure, encourage the student to lean into the piece’s wit, bravado, and sheer exuberance.