Playing with Anticipation
Playing with anticipation. Naturally, that can be recommended.
Talented players do naturally and, I suspect, often without being aware of it. Others must make this their own, making it second nature. A nice assignment for student and teacher.
What I mean can best be explained by means of an example: driving a car. Most people have experience with it, either as a driver or as a passenger.
Someone who drives with anticipation in an urban environment,is aware of playing children and stray dogs in their sight, sees that someone at a crosswalk is about to cross, sees the traffic lights turn red in time, notices speedbumps in time. Merging and overtaking go smoothly. However, someone who does not drive with anticipatory is often on the brakes, is violently shaken by speedbumps, often misses the turn, etc. We will probably arrive at the destination without accidents, but the trip was uncomfortable and it took extra energy (as well as fuel, in this case).
Now to music. You must first have an idea how something will sound and what you have to do to realise this. For example, the left hand already takes the position for the next chord while the right hand is still busy in the higher regions. This only takes fractions of seconds. This should be studied. The recommendations I gave earlier could come in handy for this.
For playing music well the same holds as driving a car well. First you must know the capabilities of the instrument and its basic operations, and you need to have these automated. Small technical exercises away from the music will aid well with mastering this. That is of all times.
These technical exercises do not have to be boring. Here is an example from L’Art de toucher by François Couperin.