Mindful practice makes perfect practice makes perfect playing. It is difficult to develop good practice habits, just as it is difficult to learn how to study properly.
In this post, I have tried to outline the
Secrets of Perfect Practice.
Secrets of Perfect Practice.
I. PRACTICE ROOM – Good students have all the necessary supplies to help them succeed, and the same is true for good practicers. A good music student practices in an environment that is quiet and free from distraction. In addition, a practice room should include:
i. Music Stand adjusted to a height that promotes good posture.
ii. Tuner/Metronome to use as a tonal and rhythmic aid.
iii. Mirror to check for correct position and posture.
iv. Pencil to mark changes and record questions.
v. Armless Chair for cellists.
vi. Lesson Book & Orchestra Music
vii. Tape Recorder for personal review.
II. WHAT TO PRACTICE? – A practice plan is half of the battle. Before you begin practicing, ask yourself what you’d like to accomplish. We talk about the 5 elements of music (the same elements that students are evaluated on during their performance tests). Use these elements to form your goals:
i. Rhythm/Tempo
1. Can I clap and count all the rhythms?
2. Can I play along with my metronome?
3. Can I play rhythms accurately without my metronome?
4. Does my rhythm sound the same whether I’m clapping it, speaking it, plucking it, or bowing it?
ii. Pitch/Correct Notes
1. Can I play the scale(s) that this piece employs?
2. Am I playing all the correct notes as written?
3. Can I put all of the notes on the fingering chart?
4. Am I using open strings to tune octaves?
5. Can I sing the interval I’m trying to play?
iii. Dynamics
1. How many different dynamics will I play in a piece?
2. Do I know what sound level I should be at when a crescendo starts? When it finishes?
3. Do I know what sound level I should be at when a decrescendo starts? When it finishes?
iv. Articulation
1. Have I observed all slurs? Ties? Dots?
2. What part of the bow should I be playing at?
v. Phrasing/Musicality
1. Can I use vibrato to enhance my sound?
2. Am I making a musical statement? Is there a musical question and answer?
3. Do I know what other instruments might be playing the same musical material with me? Is my part most important right now or am I accompanying a more prominent melody?
III. HOW TO PRACTICE? Successful orchestra musicians practice for 30-45 minutes per day. This estimate is from the time your instrument is out and ready to play! Let’s break down a 30 minute practice session:
i. Scales – 5 minutes. This may seem like forever, but scales should be practiced each day and can be used to improve a variety of skills. Scales are a musician’s warm-up. Just like stretching before a sport, scales prevent injury and encourage focus. Consider the following questions:
1. Am I playing the correct pattern of Whole/Half steps?
2. Can I play a scale using my full bow, frog to tip? Can I do it with a metronome?
3. Can I slur 2 notes at a time? 4 notes? 8 notes?
4. Can I play a scale at all dynamics? Can I make a crescendo/decrescendo while playing my scale?
ii. Orchestra Music – 15 minutes. Don’t try to practice all of your orchestra music every day because it becomes playing, not practicing. I recommend 1 orchestra piece to a different day of the week. Regardless of the additional assignment, you will always practice a specific piece on Monday and a specific piece on Tuesday and so on. Practice this piece for 5-10 minutes. For the remaining 5-10 minutes, practice the music that was assigned in class. Things to consider when practicing orchestra music:
1. Can I answer all of the “5 Elements of Music” questions?
2. Can I play an entire excerpt without stopping?
3. Do I need to write in any shifts, bowings or other notes?
4. Can I play my music with a metronome? How close am I to the assigned metronome marking?
5. Do I have any questions to ask next class?
iii. Lesson Music – 10 minutes. Just like practicing orchestra music, pick a specific element of the lesson you’d like to review for yourself. Your lesson teacher will have assignments for you to structure your practice.
Practice does not make perfect. What if you’re practicing the wrong thing? When you’re practicing and you do something different that sounds better or is closer to your goal, do it again. And again. And again. PERFECT PRACTICE MAKES PERFECT. On the other hand, if you find yourself getting frustrated because you’re not making progress, stop. Work on a different part or give yourself an ego boost by playing something you know you can sound good on, then come back. Still not better? Write down the place and ask your teacher about it.
IV. WHEN TO PRACTICE? Every day. Daily practice is a cornerstone of steady progress. Daily practice helps to keep you toned and strengthened, both physically and mentally.
I’ll bring up sports again. When you’re on a team, you have a specific time for practice. Pick a specific time for you to practice every day. Better yet, find something that happens every day and use it as your own personal practice reminder.
There will come days when you really don’t have time for a full practice session. On days like these, go easy on yourself, but don’t skip practicing altogether. Shorten your practice rather than skipping it. Play 2 scales and work on that difficult part you remember from rehearsal. Take 10 minutes and call it a day. Make up the extra time on a different day when you have more time.
IV. I’VE DONE ALL THIS. HOW DO I GET EVEN BETTER? Reward yourself for good practice by doing things that inspire you to be better! Choose any of these:
i. Go hear an orchestra concert. The Albany and Schenectady both have symphonies, but you can also hear some wonderful music at Guilderland High School Orchestra performances.
ii. Talk to your teacher. Outside of class, lessons, or private instruction, ask your teacher to tell you his/her favorite things about music.
iii. Teach someone what you’ve learned. Parents, aunts, uncles, friends, etc. make great practice tools if you can explain to them what you’ve learned. Don’t forget to play for them!
iv. Youtube can be a great resource for historical recordings. Use these keywords to hear some great performances:
1. Violins: David Oistrakh, Fritz Kreisler, Yehudi Menuhin, Nathan Milstein, Jascha Heifetz, Anne-Sophie Mutter, Hilary Hahn, Regina Carter, Mark O’Connor
2. Violas: William Primrose, Lionel Tertis, Emanuel Vardi, Yuri Bashmet,
3. Cellos: Jaqueline DuPre, Yo-Yo Ma, Mstislav Rostropovich, Pablo Casals, Gregor Piatigorsky, Leonard Rose
4. Bass: Gary Karr, Renaud Garcia-Fons, Edgar Meyer
i. Music Stand adjusted to a height that promotes good posture.
ii. Tuner/Metronome to use as a tonal and rhythmic aid.
iii. Mirror to check for correct position and posture.
iv. Pencil to mark changes and record questions.
v. Armless Chair for cellists.
vi. Lesson Book & Orchestra Music
vii. Tape Recorder for personal review.
II. WHAT TO PRACTICE? – A practice plan is half of the battle. Before you begin practicing, ask yourself what you’d like to accomplish. We talk about the 5 elements of music (the same elements that students are evaluated on during their performance tests). Use these elements to form your goals:
i. Rhythm/Tempo
1. Can I clap and count all the rhythms?
2. Can I play along with my metronome?
3. Can I play rhythms accurately without my metronome?
4. Does my rhythm sound the same whether I’m clapping it, speaking it, plucking it, or bowing it?
ii. Pitch/Correct Notes
1. Can I play the scale(s) that this piece employs?
2. Am I playing all the correct notes as written?
3. Can I put all of the notes on the fingering chart?
4. Am I using open strings to tune octaves?
5. Can I sing the interval I’m trying to play?
iii. Dynamics
1. How many different dynamics will I play in a piece?
2. Do I know what sound level I should be at when a crescendo starts? When it finishes?
3. Do I know what sound level I should be at when a decrescendo starts? When it finishes?
iv. Articulation
1. Have I observed all slurs? Ties? Dots?
2. What part of the bow should I be playing at?
v. Phrasing/Musicality
1. Can I use vibrato to enhance my sound?
2. Am I making a musical statement? Is there a musical question and answer?
3. Do I know what other instruments might be playing the same musical material with me? Is my part most important right now or am I accompanying a more prominent melody?
III. HOW TO PRACTICE? Successful orchestra musicians practice for 30-45 minutes per day. This estimate is from the time your instrument is out and ready to play! Let’s break down a 30 minute practice session:
i. Scales – 5 minutes. This may seem like forever, but scales should be practiced each day and can be used to improve a variety of skills. Scales are a musician’s warm-up. Just like stretching before a sport, scales prevent injury and encourage focus. Consider the following questions:
1. Am I playing the correct pattern of Whole/Half steps?
2. Can I play a scale using my full bow, frog to tip? Can I do it with a metronome?
3. Can I slur 2 notes at a time? 4 notes? 8 notes?
4. Can I play a scale at all dynamics? Can I make a crescendo/decrescendo while playing my scale?
ii. Orchestra Music – 15 minutes. Don’t try to practice all of your orchestra music every day because it becomes playing, not practicing. I recommend 1 orchestra piece to a different day of the week. Regardless of the additional assignment, you will always practice a specific piece on Monday and a specific piece on Tuesday and so on. Practice this piece for 5-10 minutes. For the remaining 5-10 minutes, practice the music that was assigned in class. Things to consider when practicing orchestra music:
1. Can I answer all of the “5 Elements of Music” questions?
2. Can I play an entire excerpt without stopping?
3. Do I need to write in any shifts, bowings or other notes?
4. Can I play my music with a metronome? How close am I to the assigned metronome marking?
5. Do I have any questions to ask next class?
iii. Lesson Music – 10 minutes. Just like practicing orchestra music, pick a specific element of the lesson you’d like to review for yourself. Your lesson teacher will have assignments for you to structure your practice.
Practice does not make perfect. What if you’re practicing the wrong thing? When you’re practicing and you do something different that sounds better or is closer to your goal, do it again. And again. And again. PERFECT PRACTICE MAKES PERFECT. On the other hand, if you find yourself getting frustrated because you’re not making progress, stop. Work on a different part or give yourself an ego boost by playing something you know you can sound good on, then come back. Still not better? Write down the place and ask your teacher about it.
IV. WHEN TO PRACTICE? Every day. Daily practice is a cornerstone of steady progress. Daily practice helps to keep you toned and strengthened, both physically and mentally.
I’ll bring up sports again. When you’re on a team, you have a specific time for practice. Pick a specific time for you to practice every day. Better yet, find something that happens every day and use it as your own personal practice reminder.
There will come days when you really don’t have time for a full practice session. On days like these, go easy on yourself, but don’t skip practicing altogether. Shorten your practice rather than skipping it. Play 2 scales and work on that difficult part you remember from rehearsal. Take 10 minutes and call it a day. Make up the extra time on a different day when you have more time.
IV. I’VE DONE ALL THIS. HOW DO I GET EVEN BETTER? Reward yourself for good practice by doing things that inspire you to be better! Choose any of these:
i. Go hear an orchestra concert. The Albany and Schenectady both have symphonies, but you can also hear some wonderful music at Guilderland High School Orchestra performances.
ii. Talk to your teacher. Outside of class, lessons, or private instruction, ask your teacher to tell you his/her favorite things about music.
iii. Teach someone what you’ve learned. Parents, aunts, uncles, friends, etc. make great practice tools if you can explain to them what you’ve learned. Don’t forget to play for them!
iv. Youtube can be a great resource for historical recordings. Use these keywords to hear some great performances:
1. Violins: David Oistrakh, Fritz Kreisler, Yehudi Menuhin, Nathan Milstein, Jascha Heifetz, Anne-Sophie Mutter, Hilary Hahn, Regina Carter, Mark O’Connor
2. Violas: William Primrose, Lionel Tertis, Emanuel Vardi, Yuri Bashmet,
3. Cellos: Jaqueline DuPre, Yo-Yo Ma, Mstislav Rostropovich, Pablo Casals, Gregor Piatigorsky, Leonard Rose
4. Bass: Gary Karr, Renaud Garcia-Fons, Edgar Meyer
