Principles of Successful Practising For PP

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Lesson time
Principles of Successful
Practising
Jenny Macmillan
he subject of practice is a fascinating

one as little progress can be made
without good practice habits. This
article suggests principles of good
practice and gives ideas for teaching how to
practise and for structuring practice sessions.
Central to developing musical skill on an
instrument and gaining the joy of playing well, is
efficient and effective practice. Practice is
essential in order to develop technical and
musical skills; to learn and memorise music and
to prepare for performance. There are two key
issues regarding practice one is quantity and
the other is quality. Unless the student practises
regularly for a reasonable length of time,
progress will be poor. But even if the student
does put in the hours, progress is unlikely to be
good unless the practice is focused.
Teachers can encourage parents to create a
good learning environment by:
providing a quiet room in which their child
can practise
making sure there is a clear time to practise
each day
with younger children, reading through the
notes from the lesson and perhaps even
sitting with their child, at least for the first
practice after a lesson
ensuring plenty of music is heard in the home.
Principles of good practice
It is important to differentiate between
practising an instrument and playing it. Playing
an instrument means playing through a piece
or improvising for instant enjoyment or
emotional satisfaction. This, together with
most ensemble work, may be classified as
incidental practice. And what a world of joy
opens up to those able to engage in this sort of
music-making! But musicians need to practise
deliberately in order to improve. Deliberate
practice is purposeful work which develops the
skills that form the link between the musical
intention and its execution. Deliberate practice
implies working on a short section, listening
carefully to the tone quality, intonation,
rhythm, articulation, phrasing, dynamics and so
on, and being aware of the physical

movements involved. If practising is thorough,
skills are developed so that what was difficult
becomes easy. Students need to be clear what
they are to practise, how they are to practise it,
and why they are to practise it.
Learning an instrument is really about
learning to understand and master principles.
The principles of good performance remain
similar whatever the level; so do the principles
of good practice. Good practising involves

identifying problems, devising strategies to
overcome the difficulties, and repeating short
sections while listening carefully for musical
sounds. These elements develop in subtlety as
students mature, but essentially remain the
same from age three to adult, from learning
folk songs to performing concertos.
Learning to practise effectively is a skill in
itself. There are boring, tedious, ineffective
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ways of practising, and there are challenging,
varied and efficient ways of practising. Often it
is not easy for the student to devise effective
practice strategies to overcome technical and
musical problems. The effectiveness of our
teaching depends a great deal on how
convincingly we can communicate useful
practice strategies.
In this diagram Ive tried to show that good
practice leads to progress, progress leads to
personal satisfaction and appreciation from
others: this motivates students, and so they
practise more:
Progress
Practice
Appreciation
and
satisfaction
Motivation
The ultimate aim of the music teacher is to
enable students to become independent.
Instilling good practice habits is an excellent
start.
Teaching how to practise
I estimate that the ratio of practice time to
lesson time is, on average, about 5:1, so a fair
proportion of each lesson should, ideally, be
devoted to the matter of practice. This time
might consist of a demonstration of practice
techniques, verbal discussion about how to
approach practice, and role reversal whereby
the student becomes teacher and explains how
a specific piece or exercise might be
approached. The way students practise is
influenced more by what teachers do in the
lesson; for instance, by demonstrating a
technique or getting a student to try a
particular approach, than by what they say. A
Chinese proverb says:
Tell me and Ill forget,
Show me and I may remember,
Involve me and Ill understand.
Confucius
Some teachers may ask their students, after
hearing a piece in lesson, Tell me what you
thought was good about your performance
which immediately encourages students to
22 | WWW.EPTA-UK.ORG
think positively before discussing areas for

improvement. Others may ask How do you
practise that? which is the question students
ought constantly to be asking themselves
during their practice sessions.
It is important that the student understands
the reason for practising a certain passage in a
certain way it is more motivating to practise
towards a known goal. It is very helpful if the
student can leave the lesson knowing that
there is one main point to be worked on during
the week. This may be posture; it may be an
improvement in tone; it may be the
performance of slurs or staccato notes; or it
may be a musical issue such as how to shape
phrases. Whatever the point, students need to
understand that it should be applied, wherever
possible, to every piece or scale or exercise
currently being studied. The point should be
emphasised through repetition of the task in
the lesson.
Teachers need to ensure their students see
the connection between practice and progress.
Good practice needs to be rewarded,
encouraged, discussed and never taken for
granted.
Varied practice
The notion of varied practice is an interesting
and productive one. Doris da Costa believes
that students will get more out of their practice
if they are allowed to choose some interesting
ways to practise from a list supplied by their
teacher, rather than just routine repetitions. In
her experiment, students were allowed to
choose to practise either on a conventional
scheme of breaking down their music into short
phrases and performing a required number of
repetitions of each, or else choosing five novel
ways of approaching the music. The fifth choice
was always to play the section from memory;
for the other four the selection might include:
playing the whole phrase piano
playing the whole phrase forte
playing a crescendo through each phrase
playing a diminuendo through each phrase
playing the phrase legato
playing the phrase staccato
changing the mood of the phrase
playing the phrase as a question
playing the rhythm of the phrase on
one note only.
At the end of the experiment, those who
had opted for the varied practice reported that

they had enjoyed their practice more, were
able to play more fluently, learned their music
faster, improved their technique and were
better at memorising.
Developing listening skills
A pre-requisite for efficient practice is an
honest and objective ear. Without good
listening skills, practice can be fruitless. It is
easy to hear what you hope to hear, rather than
what you actually play. A useful test is to
record your playing and listen to the recording
critically. If the recording is different from what
you imagine, more careful listening needs to be
done during practice. It is interesting to
experiment with different qualities of sound,
exaggerated dynamic levels and various ways
of shaping phrases, to produce different
moods and character in the piece.
Practising away from an instrument
practising in your head, mental practice helps
develop inner hearing. In your imagination,
with no technical problems to confront, you can
create and hear the most musical performance
possible, which can then influence your
performance when at an instrument.
Listening skills are also developed by playing
or singing in ensembles, when your own
instrument or voice must blend with the
others. Listening to fine performances of
wonderful music awakens sensitivity to the
subtleties of beautiful sound.
Structuring practice sessions
Frequency of practice needs to be discussed
with students, and with parents of young
children. Skills developed regularly over a
long period of time are retained better than
skills developed within a short time period.
Regular short practice sessions are generally
more effective than fewer longer ones, the
ideal length varying with the age and skill of
the musician. Frequent, short practices are
best for short, simple tasks and for younger
pupils, but longer practice sessions are
required for more complex tasks. But when
practising for long sessions, it is important to
take periodic breaks.
If possible, it is good to do the bulk of the
serious practice in the morning when one is
fresh. One regime would be to start with
technique (warm-ups, scales, arpeggios,
exercises and/or studies), followed by sight
reading, and continue with detailed work on
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the newest piece (working on short sections,
slowly, and so on) and/or a piece being
polished for a forthcoming performance. End
with playing through (or working on) some
recently learned pieces. A good and satisfying
practice session involves working diligently on
some pieces, and then playing one or more
well-known pieces, thus offering variety and
ending with an enjoyable play-through.
Students who structure their practice well
improve the accuracy and musicality of their
performances more than those who practise
with no specific structure. A few minutes at
the end of one practice, planning (and even
writing down) what to do at the next practice,
will result in a much more focused practice
session the next day. Post-it notes can be
invaluable for this purpose to note down
which section of the piece to start on the next
day and which elements to work on, such as
technically awkward bars, articulation, rhythm,
dynamics, speed, character, fluency or
memory.
One important element of practice is to

divide the music into logical and manageable
chunks for practice, then build it up again into
a piece for performance. Strategies need to be
devised for practising the difficulties in each
short section. The question is: how best to do
this? As teachers, we obviously assist our
students, but with limited lesson time we cant
make every possible suggestion. We need to
help our students work it out for themselves.
Recommendations
A few suggestions:
Each week you could ask students to find one
new way of practising which youve not
previously mentioned or which theyve not
done before (or not for a long while)
Likewise, each week you could focus on one
new practice point in your teaching
Write down how you practise what is
effective, what could be improved
Note down how you recommend students to
practise and consider what you could add to

guide them further.
Learning to play an instrument well requires
an ability to question, to be curious, to be
intrigued, to look outside the musical and
technical issues at the broader view. Teachers
and students need to question themselves on
how they are working, challenge themselves to
find more varied and interesting ways of
practising and so make more progress in their
ability to play skilfully and expressively.
Jenny Macmillans new book, Successful
Practising: A handbook for pupils, parents and
music teachers, is available from shops @ 15
and from her website @ 15 including p+p
within the UK (18 outside the UK). Find out
more and read sample pages on:
www.jennymacmillan.co.uk.
1. da Costa, D. (1999) An investigation into
instrumental pupils attitudes to varied, structured
practice. British Journal of Music Education, 16/1:
65-77.
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What are the two key issues regarding practice?

What is the difference between practicing and playing an instrument?

21-23 Piano30 Priniciplesofpractice

he subject of practice is a fascinating

on, and being aware of the physical

of good practice. Good practising involves

21-23 Piano30 Priniciplesofpractice

think positively before discussing areas for

had opted for the varied practice reported that

21-23 Piano30 Priniciplesofpractice

One important element of practice is to

practise and consider what you could add to

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