Thirds and Sixths

I am always reluctant to choose pieces with the main goal of overcoming certain technical particularities because this way you risk exaggerating them without benefit....if the piece is within your reach and you like it very much, fine....but if you have to strain yourself technically to maintain the necessary fluency....and musically you don't feel it's indispensable, that piece of three (I think) or four continuous pages of thirds and sixths could be endless and even cause problems for your arm....I don't know, maybe I said something stupid and perhaps I didn't even explain myself well, but I find it more useful to tackle specific difficulties in more diluted pieces...and with more gradualness..

Obviously I like the piece, it is certainly not my favorite piece but it is full of musicality. I don't understand the "if it is within your reach".. if it means: have you ever studied other pieces with thirds and sixths in rapid passages? the answer is "no", if instead you meant that the choice of pieces should be made based on our current abilities, I think it is wrong to reason that way... There will never be improvement if we continue to study pieces already within our reach (speaking as a student).

Returning to the question, I was trying to find out if there were "indirect" benefits (besides the development of good technique on thirds and sixths) in studying a piece like this

I also agree with tackling pieces that push one forward, but studying or playing pieces that propose a particular technical feature intensively for many uninterrupted pages can be stressful and sometimes counterproductive; this is why I was saying it only becomes constructive if such a feature is already within the pianist's reach... and is addressed to further perfect and reinforce precision and control.

The important thing is to play what you like because believe me when I say that the drive and the urge to clean up and perfect both the piece and ourselves comes precisely from the desire to see the piece standing. Certainly, things must be done without haste and with a great sense of responsibility and awareness. I would like to clarify that 'without haste' does not mean studying three pages in a year, but rather not letting the desire to see everything finished and standing become an obsession, especially if there are technical elements upon which natural fluency has not yet been achieved.

I speak of responsibility and awareness because making tendonitis serious can happen in an instant, and from this stems my thought on taking the necessary time.

If we begin to feel pain, it is a sign that we are approaching the technical rudiment we are studying incorrectly, and we must absolutely not continue down that path in order to avoid serious damage to the tendons. In this case, it is always advisable to seek the opinion of a Maestro who can suggest the right physical approach to overcoming a technical difficulty and who will be able to base their advice not only on their own experience but also on the student's anatomy. In the study of musical instruments—all instruments—the great leap forward is only made when one reaches the extreme humility of putting oneself to the test and seeking advice from those who certainly have more experience than us, so as to learn new things and treasure them, obviously if we feel that the teachings have truly benefited us (and it is not difficult to realize this).

Good music

All the pieces I have studied so far have always been assigned to me, except for the "simpler" ones where they gave me freedom of choice.. Since some pieces have been proposed to me at the moment and I only have to choose, I wanted to ask for information regarding thirds/sixths.. I was trying to understand if, besides improving this technique, there were indirect bonuses such as greater finger independence/agility etc...