Practice how many hours

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Necessary Necessary. Functional Functional. This is just for me, though. Hoped this helps. Good article — thank you! Thanks for the input! Figuring out what to do between practice sessions is tricky indeed — and I like your list of suggestions TV is definitely a no-no. During exams last semester I snuck a table into my preferred practice room so I could study during my practice breaks. Worst idea ever… I felt like I was in a concentration camp. Now I keep my study strictly in the library and study areas, and I always a motivational self-help book into the practice room.

Works a charm. I find that meditating for fifteen minutes or so between practice sessions is very effective for me. It not only rests my mind, but slows it down and re-centers it; allowing my 2nd and 3rd practice sessions of the day to be longer and more productive.

While there are many forms of meditation I prefer mindful meditation. Focused, deliberate practice is exhausting. I love your ideas, they are really amazing. I play the Cello and the writing pad to write down your ideas and your thoughts about what your doing wrong, how to fix that problem, and etc is useful. I think it is really thoughtful of you to be explaining to people who need help about their instrument usage and what they could try to do better or a little less with their instrument.

I absolutely love the 5 keys for more effective practices that you wrote about. I love how you showed and explained what performers and psychologists say and think about how many hours to play, how much practice is enough, is there a thing for practicing enough, and is there an optimal number of hours that on could practice. Like the other person who responded, I also do other tasks between practice sessions.

I find reading or watching tv is the worst things I could do. I never seem to be able to get back into practice mode. I find doing tasks like housework are a good break, like handwashing dishes, vacuuming or dusting. Getting out also helps so cutting grass or going out to run errands. Great article! So many think that if they spend more time that solves the problem or gives them an excuse.

Thanks Dr. Kageyama, excellently thought out and conceived article. These ideas are SO important. I wish somebody had taught me how to practice when I was a young kid. So many wasted hours. I spend so much of my time in lessons teaching my students these ideas. Thanks for helping me focus my ideas and inspiring me to renew my goals to move my students in this direction!

What a great article! Thank you for writing this so concisely:- , Ingrid. Would you suggest that these guidelines for practice are the same or similar for all variants of musical genres? Classical, popular, jazz, folk? I play guitar, bass and piano but find it hard to practice on the bass because I am only practicing a part…yet when I play piano or guitar I play melody AND harmonic accompaniment and thus can hear and feel the entire form.

So when I want to learn a piece, I do so by playing and practicing the piece on BOTH guitar and piano…then it seems to just fall in place on the bass. Is that practicing with my head? Thanks for a thought-provoking presentation! One of my favorite books that addresses the topic of what it takes to achieve mastery is called, simply, Mastery , written by George Leonard.

Your idea of learning the other parts involved in the group, so as to have a better sense of where your bass part fits into the whole is a great idea. Classical musicians can benefit from this kind of approach as well, especially when it comes to orchestral excerpts, which, played in isolation out of context, often feel and sound more like etudes than great music.

I have found practicing with one of the computerized music practice programs with the bass helped me tremendously. Of course, already mentioned is recording one part so you can practice the other parts. Years ago there was available, MMO for music minus one. An orchestral arrangement, complete except for your part. You might want to check and see if they are still available, and for the particular piece of music you are wanting. These are ideas all worth remembering. I find them most difficult to remember when I have an enormous work load to practice.

The industrial psych literature indicates that people are more productive when they take breaks; I expect that this finding would be just as applicable to musicians in the practice room as well. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Learn the 1 thing that top practicers do differently, plus 7 other strategies for practice that sticks.

If performances have been frustratingly inconsistent, try the 4-min Mental Skills Audit. It won't tell you what Harry Potter character you are, but it will point you in the direction of some new practice hacks that could help you level up. Take the MSA. Popular Articles. Is Slow Practice Really Necessary? How much is enough? Is there such a thing as practicing too much? Is there an optimal number of hours that one should practice? What Do Performers Say?

Some of the great artists of the 20th century have shared their thoughts on these questions. Other great artists have expressed similar sentiments.

Violinist Nathan Milstein is said to have once asked his teacher Leopold Auer how many hours a day he should be practicing. You know, this is not a bad idea — one of my own teachers, Donald Weilerstein , once suggested that I establish a hour period of time every week where I was not allowed to pick up my instrument.

What Do Psychologists Say? When it comes to understanding expertise and expert performance, psychologist Dr. Note that the real key here is not the amount of practice required as the exact number of hours is debatable but the type of practice required to attain an expert level of performance. Mindless Practice Have you ever listened to someone practice?

Have you ever listened to yourself practice, for that matter? Tape yourself practicing for an hour, take a walk through the practice room area at school and eavesdrop on your fellow students, or ask your students to pretend they are at home and watch them practice during a lesson.

What do you notice? There are three major problems with the mindless method of practicing. Students should use effective practice methods and generally keep practice times within one-to-two hours per day, maximum, and no more than six days each week. If your hands cramp, you experience prolonged stiffness and soreness in your joints, neck or back, stop practicing.

No pain, no gain does not apply to musicians. Follow these tips to get the most from your practice session so that you practice smarter, not longer. However, when you practice deliberately, the time required for mastery is reduced. A Connolly Music Publication.

Published by StringOvation Team on August 03, Consider Student Characteristics Too much practice can be just as detrimental as too little practice, so says virtuoso Jascha Heifetz. Practicing in this way will not deliver the results you want and it creates three specific problems: It wastes time because it actually strengthens the bad habits you want to overcome. Musicians need to outline detailed objectives related to performance in order to make progress. Always do warm up exercises , but also try yoga , and techniques to ensure that your body stays in top condition, preventing injury.

Make sure your practice session is focused, not timed. It can be as little as 30 minutes, but the important thing is setting goals for the session and reaching them. Record your goals and work on them deliberately.