Weekly Goal : be able to play mm. Piano playing is an athletic activity. Any sort of repetitive muscular activity needs some warm up. Stand up tall, slowly rotate your neck, shoulder, and wrist. Our piano instructor, Michelle Huang has a great video for warm-up exercises for pianists! Check this out for more detailed instruction on how to do stretch your body. If you are hungry, you cannot be productive. Muscles are the same. They need fluids in order to function properly.
Always have water available during the practice session. Fluids with electrolytes sports drinks, Gatorade, etc. Extremely slow muscular motion will train your brain and muscle memory. You will get to the faster tempo sooner if you can teach your muscles how to play extremely slow. This will be also helpful if you are working on memorization. Play the section at slower than half tempo while maintaining the same speed throughout the section. You can also count out loud the subdivision of the beats one - and, two - and, or one-e-and-a, two-e-and-a while playing.
This will ensure the coordination with the rhythm. Piano playing involves understanding and executing many different pieces of information. By reducing the information and tackling it one piece at a time, you are more likely to be successful at executing all the information in the end.
For example, start with tapping the rhythm on the piano lid. This will help you with the hand coordination. You can also vary this exercise: R. Once you feel more comfortable with the rhythm, try with playing all the notes forte, then all the notes piano. You can also vary the articulation, everything with staccato or tenuto.
These exercises will give you various physical sensations, which helps your muscle memory and accelerates the learning process. Piano playing requires a lot of coordination. Your brain is processing many things at once. If you are so focused on playing, you might not be able to recognize mistakes, posture, or sound quality you are making. For the best result, video-record yourself.
This will help you to be critical not only aurally by listening to the sound but also visually to what you are doing and you can be the best teacher to yourself. Video-record yourself on your phone. Watch it and see how you are doing. If you see or hear something that is not right, mark it on your score and think of how you can do it differently next time. For example, if you noticed that there was too long of a pause when shifting the hand positions, then you can practice only the hand shifts, one hand at a time.
If you realize that there is a note that you always play wrong, then you can ask yourself the following questions: Am I using a good fingering? Am I using correct fingers? Am I familiar enough with the notes? You can try saying the finger numbers out loud while playing, or you can sing the melody, etc. These exercises can fix the note mistakes. You can also check your posture. Do your shoulders look tense? Is your back hunched? Are you clenching your jaws? If you notice any of these habits, try paying attention to these habits while playing instead of paying attention to the music.
These habits might take longer time to fix, but if you can pay attention to them sooner, you will be able to get rid of them quicker. In a real performance, you need to play the section successfully only once. By randomly repeating the same section, you are teaching your brain and muscles bad habits.
Re -learning is extremely harder than learning a new thing. Mindful and strategic repetition will make your practice session efficient. Once you feel comfortable with the rhythm and notes, choose a short phrase even just two bars! Then come back to the piano and play the same phrase, maybe slower. Masterwork Classics, Level 9 Ed. Melodious Masterpieces, Book 3 Ed.
Practising the Piano Mental States in Performance - Practising the Piano
Masterwork Classics, Level 10 Ed. Melodious Masterpieces, Book 2 Ed. Sonatina Masterworks, Book 3 Ed. Masterwork Classics Duets, Level 7 Ed. Classics Alive! Technical Skills, Level 6 Ed. Added to cart. Jane Magrath. Create New List. Added to. The conversation it has generated is also informative. Seems it boils down to no single across the board answer. Yet focus, goals, time limits, spending time in other activities are an overriding theme. It applies to so much in life. Being fully present in what you are doing is a foundation for quality.
What a great article. Besides determining an effective length of time to practice not too much, not too little , how do we create benchmarks for ourselves to actually see how much we are getting accomplished? Great question; the idea of articulating deliberate practice in behavioral or measurable terms is a helpful one. A couple thoughts come to mind. Practice log If the point of practicing is to sound better, and sounding better requires the advancement of our skills, we can measure practice time productivity not only by how we sound, but by what we have learned.
Often, we just launch into practice and go at it without any particular agenda other than just to improve in some general way. On the occasions when we have a clearer idea about how it is that we would like to improve, we enter into our practice session with more of a targeted problem-solving mentality, and more productive practice often follows. He and his colleague have written a great document called The Habits of Musicianship which gets at the idea that we have a habit of creating a separation between the technical and artistic aspects of music-making, with musicianship becoming almost like an add-on reserved for when technique is more established.
In other words, a reminder to clarify our musical ideas first, then the technical details that support them. For instance, a particular phrase might be most convincing and based on the score, also make the most musical sense when the opening note is played in a single bow, despite it spanning several measures. Pulling this off will require greater bow control, which will require figuring out the optimal combination of bow weight, speed, and point of contact between bridge and fingerboard, as well as minimizing the arm tension involved such that there are minimal wobbles or shakes when one is nervous.
You should take a look at my practice videos on my YouTube channel kathywilliams For example, that staccato bit in the Nielsen Clarinet Concerto is a piece of cake if you can already staccato that fast, and you sightread better in difficult keys if you do returning and interrupted scales from the Baermann method in those keys. And at least 15 minutes of your practice at the beginning should be a warm up on your long tones and staccato etc.
Thanks for sharing the great article. My question is when we learn a new piece, it seems inevitable that we practice mindlessly. Another great question. Whether it is based on recordings of the piece, or score study when there is no recording, having a concept of what we would ultimately like the piece, movement, phrase, note to sound like can keep us focused on trying to make continual progress towards our goal, and avoid the trap of mindless repetition sans phrasing, dynamics, etc. One of my teachers helped me understand this by describing practice as an iterative process using the metaphor of filters.
First we use a filter to get the rocks, dirt, and sediment out. Then a finer filter to get rid of smaller particles, then an even finer filter still to remove larger bacteria, and only then do we use our finest filter to remove the smallest microscopic elements that could make us ill.
Helpful concept, and also a fun word to use because it makes you sound really thoughtful and kinda brainy — but in a good way. Great article. I have found one suggestion most helpful — plan out the practice session with goals for the next day immediately after finishing a practice session. I have done that for years in the area of homemaking, but never in the area of practicing. For health reasons I have incorporated 2 sessions of 20 minutes of Skilled Relaxation every day. This is a great way to rejuvenate between practice sessions.
Kageyama, I am an eighteen year old girl from India. I have been learning Western Classical violin for 11 years now. Music is my only passion!! Recently, however, I noticed the development of a nerve ganglion on my left hand and it has deeply affected me. I want to be confident through and through…. Your article is really inspiring, sir! I will certainly try the methods mentioned here. Could you also tell me as to how I can get rid of my anxiety during practice sessions as well as on stage during a performance?
6 Tips To Start Playing Piano Before An Audience
I really want to share my music with the world and make people happy!! But how can I do that when my anxiety is making me unhappy? Ah, these are key questions indeed. This blogger wrote a fantastic article on problem-solving in the practice room. I love this article! They call us lazy and not dedicated. But in reality, we can not physically practice as much as they do because our instrument is inside us, and as you may know, if you talk for a very long time, your voice becomes sore.
Same with singing. We can not put in the hours that instrumentalists do, because our instrument will start to not work as well. So with this information, I can show them that working longer than us does not make them better. Thank you for writting this wonderful article! This is probably one of the most vital articles for us musicians.
All musicians. Having a strong ability in various music genres I get overwhelmed by practice sometimes. I like the beliefe and the acceptance that resting is just as important as practice. I think that it is important that everyone, especially I, make our practice schedulres based on the information here. Take the time to engage our brains and our fingers will follow. The blog this article is from is quite good and I have it on my home page through RSS see earlier post. Hope this article here will give some insight into the issue.
Please specify the necessary improvements. Edit Link Text Show answer summary […]. I just recommended this article to some language learners. What matters is what you expect to accomplish in a practice session. It may be reading and JUST reading your music.
It may mean listening to the masters in recordings so you can achieve your own sense of mastering. The comment about intonation brings upon another consideration, practice intonation. Playing random notes with a tuner for the sake of intonation then practicing without the tuner to learn to hear intonation.
But none of this matters without some degree of inspiration which is exactly what this article does for me. Thanks for the additional info! Would love to hear more details about how deliberate practice applies to jazz musicians and the unique skills they work on in the practice room…. Dear Dr. Noa, I have decided to begin a practice regime with your methods. I will let you know in a few months time how it works. It looks very logical. I am excited at the prospect of learning to be a better player.
I believe that the questions that you have listed are so important in searching the solutions. I was looking on this site hoping to find a section for improvisation. If you can find someone, please do let me know. Thanks Denise. As far as improvisation goes, are you familiar with Christian Howes? He has a website at christianhowes.
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Kageyama, I would love to share information on this subject especially since I am also classically trianed. Like legit musicians, you must feel comfortable with scales. But with the jazz musician, we need to learn not only major, minor, chromatic, we also need to get a grasp on the modes, blues scales, be-bop scales. We have to learn to understand chord changes and develop a crazy sensitive ear. It is a must to have the jazz books such as the Jamie Aebersold series or the Hal Leonard play-along-books.
It is nice to see what playing with a band which is the main purpoe of the books. Now, with all this practice you still are not a jazz musician. Participate in jam sessions and open mics. You must practice not fearing mistakes and being less than perfect. Jazz is musical freedom. Many people say there is no wrong notes in jazz. In a sense, mindless practice applies here also. This may be just the time to throw in some mindless drivle…but only briefly. I have a very hard time physically practicing longer than hours at a time.
I learn the music and the chord changes before I play it. I believe strongly in taking a break- so there should be a day or two of rest. But I concentrate on what I need to concentrate on and I find that it makes my next project so much easier.
How much should we practice to be great? His point that you need to have a life or what could you possibly express to an audience. There is an interview with Sarah Chang when she was 12 years old and playing Paganini 2nd concerto and she said that she is practicing 2 hours a day hahaahah, i mean there is noooo such talent that will play paganini perfect with 2 hours of practicing at the age of 12!! Come on! They may not be counting rehearsals, lessons, coachings, or merely noodling around the instrument as part of their practice hours.
So many of the things I learned the hard way 20 years ago, spelled out clearly and rationally. Ah well…. The specific penny-drop moment this article gave me was the relationship between mindless practice and low confidence. In my coaching I have been encouraging ensembles not to keep doing multiple runs-through of pieces each rehearsal because a it wastes rehearsal time, and b it locks in habits you are actually trying to change.
Some believe me; others find it hard to let go of what they experience as a comfort blanket. Understanding how a mechanical rote approach actually undermines confidence, rather than increasing it as they currently believe, is going to be a useful tool in helping people into more productive ways of working. Thank you. I double dare any scientist to give 2 student probes the same practice schedule but one group practices 8 hours while the other only 2 or 4…i bet my jem prestige that the ones practicing 8 hours will outdo the 4 hours group, ive seen it, im proof of it, all the virtuosos did this..
Vai 30 hours routine is the perfect example of it.. Student A practices for 4 hours. Student B practices the same for 4 hours and then practices some other material for another 4 hours. After 3 years he will without doubt know a lot more than student A. Its common sense.. It all depends on how one practices. Practice often means to just read the passages, recognize keys of each passages so that you can play them correctly and move on.
I will remind them of the mistakes they are practicing. THen I make them look at the passages they are playing and often the passages may be variations of their daily scales. Once they recognize the passage they can play it. I do not believe that a person who practices 4 hours cannot play as well as another one who practices for 8 hours regardless of the numerous examples given. Reading a passage for a few minutes can equate to at least 2 hours worth of practice.
Also, scales and etudes ate of course just as important as repertoire but I do not believe that they should or need to be played in the same practice window. One day practice scales, the next day etudes, the next day repertoire. Anytime scales, etudes and rep are played in the same practice session-etudes and scales should be used as warm-up and repertoire should be the primary focus.
ITs pretty interesting, since some have the opposite strategy e. Practicing mistakes or bad technique indeed is the worst case scenario.. He even suggests you to spend 1 hour just exausting the multiple ways of playing a note or vibrato.. I think there is no definite answer and learning is an individual process, but i do know something, when you love what you are doing, there is no such thing as practicing too much..
I am talking about 8 hours of concentrated practice of course which can be done with perfect technique , concentration skills and pauses the average person works 8 hours a day.. Thank you for shedding some light along with all the other nice people on here. Thank you for your expertise and wisdom Dr.
Noa as well. I heard Charlie Parker practiced well over 10 hours a day. Raphael Mendez practiced over 12 hours on trumpet which is quite a physical feat and requires tremendous endurance. I used to practice trumpet for hours a day in highschool. I do admit some of my practice was a little mindless, perhaps my mind was too tired to think after reading and practicing all the basics… so after that I would play melodies by ear and with intense emotion-I had so much fun doing this. I was always first chair in a band, I was first out of 25 trumpet players and the band was 1st in state.
I did have good teachers though, who taught me proper technique at a young 7 years old. Of course there were breaks of say 5 min here 5 min there, 10 min. But my endurance, tone, technique etc. I never thought practice was a chore, only when I was very young at years old and wanted to play ball with friends outside and my father said practice hour first. Around 11 years old I was hooked for life. Practice should always be fun or something is very wrong. Thanks for sharing everyone! Practicing is also abour axing your play. When I say jamming ,that not only goes for jazzers but also legit musicians as well.
And as far as actual practicing an instrument goes, taking the time to rest and enjoy everything that life has to offer solidifies what you learned. It requires tremendous mindfulness from the student too, one can practice the mechanic excercises like mindless scale runs or trills for periods where one is not at the fullest concentration point, and when energy is restored concentrate on the creative process again.
Some also say you should focus on your strenghts and exaggerate them, others say you should always seek to improve that which you lack and transform it into strenghts.. The two hours was referring to practice over the course of a day. This phenomenon of diminishing returns came from economics I believe, but applies to many other things as well. In the case of music practice, it seems that the gains we make per unit of time tend to diminish as the hours begin to add up.
Whether you practice in chunks of 20 minutes, 40, 50, or 75, the important thing is to pay attention to when you are no longer practicing mindfully. Hello, I am finding that I am not consistent in my practice and playing. I go through certain stages in my ability. Do you have any thoughts, advice, or solutions?? There are times when this is an indication of our ears as well; as we improve and are able to play at a higher level, we start hearing more and more things that could be better.
It can be discouraging to climb one mountain, only to find yourself at the base of the next higher mountain, until we realize that this is what the process looks like, and that the mountains never end. The book Mastery by George Leonard helped me realize this, become more patient in the practice room, and appreciate the process. Celloboy, exactly what are your paractice habits? Do you warm up before playing? Personally, warming up defines your quality of practice. Do you visualize your music when you are NOT practicing. Do you read your music before playing it, especially before you actually practice it.
Practice is a culmination of many things not just the tactile. Your music should be full of pencil markings that identify scales, phrases and sections that repeat themselves. Do you practice the entire piece or just portions. I always have my students concentrate on portions of big pieces because things often repeat themselves so why practice the same segment more than once….
Another idea, make a copy of your music and cut it up. This is especially helpful with the more difficult passages. I do believe this idea comes from athletes and it is in a book. If I can find the book, I will post some information on it. I hope these ideas are helpful. The other day, my daughter was acting like this boring, repetitive set was really blah. Her posture slumped, her intonation was bad. If you practice like it is lame, then you will perform it like it is lame. There are two kinds of memory involved in the learning process, motor memory and data memory.
Your motor memory is the training of the physical or motor skills and your data memory is the memorizing of conceptual data. If you are training motor skills, you can practice for many long hours without doing any harm. The more of this kind of repetition the better. In fact, much of this kind of learning can be accomplished unconsciously.
A person can achieve wonders while mindlessly staring at the television, playing or doodling for hours, even with the sound on. With data memory memorizing scales, fingering patterns, licks, songs, harmony etc. Bear in mind that your attention span will vary from day to day, and may be as short as five, ten or fifteen minutes at any one sitting. The signal that you have come to the end of your natural attention span, may be anything from staring at the wall, to thinking about your vacation, to playing that little old blues lick you have known since you were seven. This is perfectly natural. So take a short break.
Remember, then, that there are two completely different aspects to gaining musical control of the instrument.
Neal Peres da Costa
First, learn by mental rehearsal, visualization and recalling it from memory. Second though no less important , develop and train your motor skills through repetition. Studies have shown that the mind is like a camera. Once it gets a clear impression of the material, the picture is snapped into focus. You have it. It can now be recalled and replicated in order to train the motor system.
Memory should not depend on repetition. Rather, the rote learning we are taught in school is actually destructive to the learning process. What you should be doing is looking at the material once to get a very clear, focused picture: then, mentally rehearsing it without actually using the instrument. On the old rote-memory system, you are taught to repeat the learning process over and over. This is where you start to forget.
The picture blurs, and you do not learn how to remember. Reinforce this new way of learning by staying away from the printed page as much as possible. Make the snapping of the image only once a matter of habit. Practice recalling the sounds and visualizing the fingerings that match those sounds. In time this will become a second nature, and you will become a perpetual learner, able to learn as much away from the instrument as you can with it in your hands. A few minutes of concentrated, thoughtful study can make a solid impression and can prove far more beneficial than hours of unfocused drudgery.
You will need to assign yourself breaks by the clock until you become sensitive to your own physical and mental signals. So get yourself a kitchen timer and time each section of your practice. When your timer goes off, obey the discipline of the signal. Do not break it and go beyond your assigned time limit! Remember that, while on the old method it is all right to practice until you drop, the new method requires you to re-train yourself for a whole new kind of learning experience.
How about switching the piece I play ,like 15 minutes concentrated practice ,then 5 minutes review,etc. It often depends on the individual, whether a fixed time schedule works effectively or not. Modify, tweak, and reflect on your observations as needed to come up with a schedule that works well for you. Both Dr. K and many others advise. It might be of some help to you guys.
How about review? That takes time. You mentioned the motor skill. I know that applies to speed. How is the concentrated practice and gaining speed for a passage or in generel connected? Should I limit these times too? Like when I use the metronome to gradually increase speed? I stumbled across a study once which suggested that the most efficient way to get a motor skill up to speed, was to focus on speed first, then accuracy second.
The 10, hours number is just a number, just like 25 is a number — the number of minutes it takes for muffin batter to turn into muffins assuming the right ingredients and the right oven temperature.
Maybe I should put it like this: feel free to practice as long as you like — so long as you are fully focused and concentrating on the task at hand. For most, our ability to devote this sort of mental energy to the task at hand, seems to tap out around 4 hours. Referring to developing speed I stumbled upon this interesting video of a sort of masterclass given by Shawn Lane. He is a rock guitarist legendary for those in the know, apparently who developed freakish speed on his instrument at an early age. I am not a big fan of his music, but after viewing a lot of his videos on YouTube I concluded that when it came to speed this guy knew what he was talking about.
Personally I have found that playing a fragment once for accuracy, once as fast as possible, and then 3 more times as slowly as necessary for accuracy is effective and more engaging then staying at one tempo, inching along, or repeatedly trying it fast. Over time the gesture becomes the vehicle for the notes, I think. It might be important, though, to only practice the gesture a little bit, or in smaller proportion, because one may ingrain the incorrect notes and get frustrated.
Interesting, Pierre, thanks. What you say here ties it all up in a nutshell. Make sure that the bulk of your practice takes place within the first 2 hours. For me, If I fail to do this, anything afterward is like confetti. Something that will need to be cleaned up eventually which is just more work. I am referring to this quote here:. I am almost ready to head to the recording studio. Mistakes can happen, but it is how you use the mistakes that requires practice.
Yes, you can make a mistake in jazz and make it sound like you meant for it to happen. You have to practice getting out of, what would normally be a, tight situation. So my practice involves thinking about chord progressions and how to move seamlessly through them even without the music in your face or instrument in your hand. Would it be possible to give references to the studies, facts, and research you cite?
Thank you kindly for your consideration. Ericsson, K. The role of deliberate practice in the acquisition of expert performance.
Psychological Review, , Expert performance: Its structure and acquisition. American Psychologist, 49 8 , I have to say that I also enjoyed reading the books written in the popular press about this research e. How does all of this apply to learning multiple instruments?
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Can I perhaps do 2 to 4 hours on Violin, have a 30 minute break and then do 2 to 4 hours on Piano? Realistically I tend to give each instrument 1 to 2 hours, but at weekends I try to give more. Much like studying for finals in multiple classes, our ability to focus and concentrate and to a degree physical stamina as well are the limiting factors in deliberate practice. It might freshen you up a bit to switch over to another instrument, but my guess is not by too much. The key will be to see what works for you, what your limits are, and what sort of practice schedule is sustainable over the long haul.
I remember making myself go through huge marathon sessions on occasion that wore me out so much that it was tough emotionally, mostly to get myself to practice at all, let alone effectively, the next day. What an informative article. It will help a lot in my practice sessions. Thank you very much! This is some good info. Thanks a lot. If I did 4 hours in the early morning and then another 4 hours at night, would the time inbetween be enough to refocus the mind for that 2nd 4 hour session? You could certainly give it a shot. Personally, I think this sort of schedule might be hard to sustain over the long haul could maybe do it for a few weeks, but perhaps not for months , and the tricky thing is going to be ensuring that the quality of your focus throughout stays high.
Let us know if you discover something that works for you! I personally learn pieces best when I have a basic understanding of what it sounds like first, and then I throw away all my preconceived notions, ignore convention and what others have done in recordings, and take a closer look at what the actual score seems to suggest. I struggle trying to go the other way around. It may be no coincidence that she has stronger instincts for contemporary music than I.
My guess is that the readers of this blog have their own ways of learning and practicing new music as well; perhaps some will respond to this, or you may even be able to ask some of them directly via their blogs or contact info. Often the hardest part about practice is getting started. Instead of thinking about minutes just set yourself the target of picking up your instrument and at least starting to practice every day. But, how many hours is best? Net, 1 to 2 hours a day of deliberate practice will enable new skill and knowledge helping you to reach your full potential.
This article is remarkable. I thought, how can I do this? Your article is talking about exactly that. As more of a blues guitarist I have been experimenting with ways to get more out of less hours especially when you come home from a day job feeling drained and only have energy for an hour at best of practice. Well Jimi Hendrix used to take a shit with his guitar still around his neck … so that should give you an idea — you never never never stop playing!!!!!
Ha ha. Hi there! First of all great article! I have two questions to you:. How to improve technique without doing this mindless exercises? My other question is related with having the ability to keep to your schedule. I have a day job of 8h, and after my job I normally go practice for 2h or so. How to get the proper motivation to stick to a plan and being disciplined in this case? I think that most of the time teachers are biased to their own methods of learning.
You race home, whip something up to eat probably junk processed food , jump on your instrument, and struggle to concentrate and keep from falling out of your chair. However I do have one way that I deal. I would also dedicate time to diet and exercise as those things will boost your energy. Speaking of Zen, I find it a good time to meditate when I just get home from work so I can calm my mind and shake off the worries of the workday.
It makes concentrating much, much easier when I practice. Hope this helps! To make them more even, or more precise, and so on. The bow control, sound, intonation, precision, fluidity, ease, effortlessness were all exquisite and remarkable — we were all blown away. And I assume she always played even the most basic of scales fully aware and completely attuned to what she was doing and what she was working towards. I might be inclined to make your practice time centered around specific music-related goals rather than time.
We have to move on. And we tend to be more motivated to work on things when we have less time than we want. God points, as they say, work expands to fill the time allotted. I really feel that everyone has their own things to work on that will give them the most growth.
The trick is to do some self-examining to figure out what that is. This may make practice something that I look forward to instead of something that I have to do. If I were able to tell the young me anything, it would be to practice better,not longer. I would concentrate on how I learn a piece of music and not the mindless repetition that I did. I would practice sight reading so I could learn the basic piece faster, and then spend my energy on refinements, not spending the majority of my time learning the piece. I am about to become a first year music major, and i had to take the time to learn how to sight read quite well.
I am a guitar player and though i have played for years, i was not raised learning how to read music. So wrapping my head around practicing less than 2 hours a day is hard, because i sight read for at least an hour if not more. I stumbled upon your blog a few weeks ago and I must really thank you for all your thought-inducing articles.
They made me start to look at music and practising in different perspectives. I have found them to be extremely useful in helping me become a more effective music student. I am one of those who fall under the category of mindless practising, and in retrospect, I am guilty of approaching my practices using these inefficient methods:. Those, and over-emphasizing on the quantity of practice over the quality. Of course, it is debateable when we talk about quantity of practise in terms of building stamina as it is different for all individuals.
For a start I tried out the method of grouping my practices into minutes sets, with each set having to deal with 2 different issues e. I found that while I pried my ears open and having certain goals in mind during my practice, I found myself subconsciously working intensively on importantly aspects of these studies in the 45 minutes and my goodness, it was extremely draining because,. This is good in a way as I constantly searched for the best ways to tackle my playing issues within the time constraint.
I will need to move on to the next task instead of getting stuck with the same problem. Usually by the end of the 3rd set a little over 2 hours of deliberate practice I have to call it a day because it is so physically and mentally draining. This method comes as a shock to my mind and body, but I am going to continue and hopefully see that it is effective for me! Thanks for the detailed reflection of your practice habits. This article is completely fantastic. Thanks for writing such a helpful, and wonderful article. I believe there are problems using time as the gauge for practice success.
For one, the practice required of an intermediate student differs significantly from that of a seasoned professional. No great virtuoso got that way with 30 minutes of mindful practice a day, but one can maintain their skills with that regimen. Another issue is instrument dependent.