Adequate Learning Vs Overlearning: How Many Repetitions Is Enough?

You know those happy moments in the practice room when you experience a tiny breakthrough, and after having struggled for a while, can finally play a passage exactly like you want?

Feels like cause for celebration, right?

Well, as a kid, I would reward myself for my achievement by putting my violin down and taking a practice break. Sometimes stretching into the next day…

This seemed like a reasonable enough thing to do at the time. Of course, now that I have kids, this sort of thing drives me nuts. I mean, you get through your Tae Kwon Do pattern without incident just once, and you’re ready to move on? What?!!

But how important is it really to practice beyond this point? Sure, we can always do more, but might it be that learning to the point of proficiency is enough sometimes?

Adequate learning vs. overlearning

Say you are working on a passage and keep having memory glitches or play a few notes out of tune, but with a bit of work, finally get through the tricky spots without incident. Moving on to a new skill or a new passage at this point would be called “adequate” learning, because presumably, you’ve ironed out the problem areas and have reached a certain level of proficiency.

If, however, you continued to work on the passage, beyond the point of reaching proficiency, you would be engaged in “overlearning.”

Surprisingly, there isn’t as much research out there on overlearning as one might think, but it does seem that there are some benefits – particularly in the area of retention.

Sustaining skills over time

For instance, a US Army study followed the learning curve of 38 reservists who were trained in how to disassemble and assemble an M60 machine gun. A control group practiced until they could achieve one error-free performance1. An “overlearning” group practiced until the same point, and then some (specifically, their training was extended by however many repetitions it took them to get to an error-free level2; so if it took them 30 tries to get it right, they did a total of 60 repetitions3). A third group practiced until proficiency, and 4 weeks later, had a “refresher” session where like the overlearning group, they did as many repetitions as it took for them to get it right in the first session.

8 weeks after their initial training session, all three groups were tested on their M60 disassembly/assembly performance.

How’d they do?

As you can imagine, both the overlearning group and refresher group outperformed the control group at the 8-week mark (by 65% and 57%, respectively). And while their performance at 8 weeks was pretty similar, there were some meaningful differences between the two, which suggests that overlearning may have been a more effective approach overall.

The overlearning group not only executed the skill (mostly) flawlessly during their extended training time, but they also got faster, cutting 12.74 seconds off their time (189.6 to 152.2 seconds) from their first error-free performance to their last practice attempt of the day. To me, this speaks to greater automaticity of the skill – the ability to perform the skill more efficiently and effectively without having to think one’s way through every step.

By comparison, the refresher group had forgotten quite a bit by the time they had their refresher course 4 weeks later, averaging more than 5 errors on their first practice attempt. In fact, most of the soldiers failed to complete an error-free trial before the end of their refresher training session, and the overlearning group demonstrated better performance after 8 weeks of not touching an M60, than the refresher group did after 4 weeks.

Which suggests that overlearning leads to gains that last longer than simply practicing up to the “good enough” point.

Surgical training

In another study, 20 surgical residents were tasked with practicing a common gall bladder removal procedure.

Everyone practiced the procedure4 until they reached “proficiency” which was defined as achieving a score of 80. Once they reached proficiency, 10 of the residents did no further practice of the skill. Meanwhile, the other 10 residents continued to practice, putting in as many repetitions as it took for them to reach the score of 80 in the first place (i.e. 100% overlearning).

To gauge the impact of overlearning, both groups were tested 1, 4, and 12 weeks later, and evaluated on their simulator score, how long it took for them to perform the procedure, and accuracy.

How’d they do?

Overall, the overlearning group appeared to learn the procedure and retain their skills better, outperforming the “adequate-learning” group by an average score of 76 vs. 68, while making fewer mistakes and completing the procedure about 20% faster.

So while extra practice does take more time and effort in the short term, it seems to have benefits in the long run. And like the soldiers in the previous study, the overlearning group’s ability to perform the procedure faster suggests a higher level of automaticity.

Like the difference between a capable but hesitant new driver on a learner’s permit, and an experienced cabbie who can navigate city traffic and parallel park without a second thought. I mean, if you accidentally chopped off the tip of a finger while preparing dinner, which one would you want driving you to the hospital?

How much overlearning is enough?

While overlearning seems to be a good thing, it’s not so clear how much overlearning is best. More seems to be better, but there is a point of diminishing returns. Where doing more takes a ton of time and energy, but yields relatively little gain. Besides, overlearning for the sake of overlearning can lead to mindless, ineffective practice, and do more harm than good.

There does seem to be some evidence that 50% overlearning is the minimum to get some benefit (i.e. if, for instance, it took you 40 repetitions to reach proficiency, you’d do an additional 20 repetitions past that point, for a total of 60 reps). And 100% overlearning appears to give us more bang for our buck than 150% or 200% overlearning. So ultimately, 100% may be the best place to start (e.g. if it took you 40 reps to reach proficiency, you’d do 40 more, for 80 total).

But what I like most about the idea of overlearning, is how the overlearning protocol could increase motivation and focus during practice. Because if you know that the amount of overlearning you have to engage in is a function of how long it took you to get it right in the first place, wouldn’t you be really motivated to figure out how to achieve a level of proficiency in fewer repetitions?

So the next time my kids are slopping through their Tae Kwon Do patterns, maybe this will be a twist that could boost their motivation to buckle down and make each repetition count. Then again, they’re pretty crafty little buggers, and have foiled most of my attempts to “psychology” them in the past…


  1. On average, it took each soldier about 30 minutes to reach error-free performance
  2. This is known as 100% overlearning. Engaging in half as many repetitions as it takes to reach the target level of proficiency is known as 50% overlearning, and so on.
  3. In general, it took an extra 15-20 minutes for soldiers to complete their extended training
  4. Don’t worry! They practiced on a simulator – not real people.

Ack! After Countless Hours of Practice,
Why Are Performances Still so Hit or Miss?

It’s not a talent issue. And that rush of adrenaline and emotional roller coaster you experience before performances is totally normal too.

Performing at the upper ranges of your ability under pressure is a unique skill – one that requires specific mental skills, and perhaps a few other tweaks in your approach to practicing too. Elite athletes have been learning these techniques for decades; if nerves and self-doubt have been recurring obstacles in your performances, I’d like to help you do the same.

Click below to learn more about Beyond Practicing – a home-study course where you’ll explore the 6 skills that are characteristic of top performers. And learn how you can develop these into strengths of your own. And begin to see tangible improvements in your playing that transfer to the stage.


22 Responses

  1. As Jeff Foxworthy once said, “I hate a smart child” (his daughter who’d have a snappy comeback to something he said – it kind of comes with being the kid of a comedian, I suppose).

    I feel like there’s a popular quote somewhere that goes to the effect of “Learn it, then learn it again”. This ties in to stuff covered before about how just getting it right one time isn’t going to cut it by any standard. It’s interesting now that we have some numbers about just how _much_ to drill it in after that one successful take, even if they’re just guesses at this point. I would be very interested in further research in this area, though I’d bet my bottom dollar the threshold of max overlearning benefit would vary from person to person…

  2. for quite some time now i’ve had the feeling that once i reached the point of “got it” for a particular passage or piece, if i stopped and moved to something else i wouldn’t have ingrained it enough. so i’d bite the bullet and try it again. usually it would take me a couple or more attempts to get it right a second time. then i’d try it again until i got it right, and eventually, with more nauseating repetition i’d be able to do it two times in a row without error.

    but why stop then, when i could literally do it a few zillion more times until i could do an infinite number of repetitions without error? but i’m only flesh and blood, so usually i will stop before even reaching the two-times-in-a-row-perfectly point. i stop because i can feel my energy level and ability diminishing. it feels like i’m running out of some kind of mental energy that will leave me in a zombie-like state if i continue. or maybe i’ll just jump out the window and solve my problems once and for all…

    this article reminds me of how many variables there are surrounding this whole are of practice psychology, and that i’m not alone in facing these issues. tomorrow maybe things will be easier.

    many thanks, Noa, for another thought-provoking and encouraging post.

    Gary Berlind/

  3. Nicely done – as usual. On a macro level, I’m wondering if teachers feel a need to “move on” too. Once a student “gets” a piece, it’s time to move on the another. Perhaps the student or their parents are tired of it; or there was an exhausting sprint to be ready for a contest or competition. In some cases, this just might be when real learning can begin.

    Isn’t there a saying along the lines of: “Amatures practice until they get it right; pros practice until they can’t get it wrong.”?

    Thank you!

    1. Great article, thank you! I too move on as a teacher at this point to keep the student motivated and I sacrifice perfection for progress. It is hard to know if this is the best strategy but I believe and hope it is.

      I thought this article was going to be about the decay of a piece of music after it has achieved “perfection”, for example preparing for a recital as a student and technique becoming sloppy. What is the danger of this happening, or is this just a student phenomenon?

      1. Hi Rebecca,

        Yes, perfection is essentially an unachievable standard, so I think it’s best to go for “optimal” and move on. It’s always possible to circle back and make things better in iterative cycles anyway, and motivation (and keeping things feeling “fresh”) is key.

  4. Hi Noa
    Interesting read. In my musical practice i work on a piece until I get it perfect. At that point I try to play it through perfectly 3 more times . Each time I have even the smallest error I return to 0 times and start again. Its very enlightening to see how much your concentration can wander especially during the third repitition. I find this method works for me, YMMV.

  5. I read a book about practice habits. It said that you practice until you can play the phrase correctly 5 out of 7 times. Doesn’t sound like much, right? But the focus required is more intense over the time it takes to do the 5 out of 7 so it does seem to be a magic number. Also the author said that if you are not “easily” reaching that goal you have either not figured out the fingerings or you are working beyond your capabilities and you should back off.
    As far as retention goes the 5 out of 7 works for me, but “your mileage may vary.”

  6. Thank you Noa for the very interesting post.
    Well, this comes somewhat in contraddiction with some of your previous posts about interleaved and variant vs. blocked practice. It seems after all that some moderate blocked practice in the early stages of learning a piece or new skill is beneficial…

    1. Hi Konstantine,

      Astute observation. Yes, I wondered about this too when reading through the studies.

      There does seem to be some indication that blocked practice can be helpful in earlier stages of learning a skill. And in these studies in particular, there was only one skill being learned, and in only one single practice session. So it’s a little tricky to try to generalize to what would work best when we are learning multiple skills (or pieces) over the course of days and weeks of regular practice.

      I’m sure there are personal differences too, but for me, I’m a little uncomfortable moving on from something after achieving the first successful trial of the skill. Seems that there’s too much luck that could have been involved. It’s nice to be able to do it at least twice in a row so you know it wasn’t a fluke the first time.

  7. I am curious about the relation between overlearning and spaced (interleaved?) repetition. Don’t know if there’s already an answer for how to combine the two or when to use which one, but I would guess that this overlearning practice would work better for new material, while the interleaved could be use to get better retention on material that you’ve already (over)learned. Time to practice, I guess!

    1. Hi Max,

      That’s what I’m thinking too. Overlearning when something is really new to see if you can figure it out, then interleaved to get better at retrieving the exact sequence of motor movements the first time (not the 2nd or 3rd or 5th time).

  8. This is a great article. I kinda suspected as much but dont always exercise the discipline to overtrain! Also ties in with the idea of building new connectiins in the brain.. if each perfect repetitiin is like on connection it makes sense to do more and make the learning more permanent, like building up strands of rope. Thanks Noa!

  9. Great post on an important topic. It seems an unfortunate choice of terms to call an effective learning method “over learning” as it seems to imply the same kind of negativity and harm as “overdoing.” I think it would be more appropriate to call the typical approach “under learning” than to call this “over learning.”

    I’m also curious about how this relates to the interleaved practice techniques that the previous commenter mentioned. I would imagine that when working through a trouble spot, one could “over practice” in the first session and then throughout the next week or two interleave that passage throughout the practice routine striving to achieve greater competency over time. In the military study above, I would bet that if the over practice group revisited the task periodically over the course of the next 8 weeks in interleaved fashion they would have performed close to 100%.

  10. My piano teacher always told me that I should move onto the next bit only when I can play the part I’m working on 3 times in a row.

    It sounds from this post like I could benefit from even more repetition. However, 3 times in a row has worked as a pretty good “rule of thumb” so far. It has the advantage that you don’t have to count every repetition.

  11. This is a great topic. To maintain your skills and develop them even further takes a lot of practice, patience and discipline. You definitely have to be mature enough to know when to let something go or when to get it to the “acceptable level” without wanting to have complete mastery over it.

    I guess it also has to do with what your musical goals are, and how you’re measuring/tracking your progress. I believe that setting goals for yourself and seeing the progress you’re making can motivate you and get you there quicker.

  12. this is a great topic, and it reminds me of the old riddle about cottage cheese; ” how did the guy who invented cottage cheese know when he was done?”

    actually, i think each musician has to figure it out for themselves. there are many factors involved, including the player’s level of development, their goals and motivations of the moment, and their personal levels of muscle memory, music memory, intellectual memory, and visual memory available to the player. and that may even change over time for any given player.

    repetitions once a passage or piece is “nailed” can obviously strengthen each one of these four memories quite independently. so sometimes it can be like making four cottage cheeses at the same time.

    Gary Berlind/

  13. It’s not at all clear how relevant a relatively simple procedure like assembling a rifle has to do with playing an instrument. Putting together a gun is something a dead average man can learn how to do in a few days of basic training (mere hundreds of repetitions). Playing an instrument takes years of consistent practice (thousands or tens of thousands of repetitions) and requires coordinating a gaggle of precision skills. I’d be more comfortable extrapolating the study to the results you can get teaching a student in the first few months of study.

    There is a way to run the experiment on oneself, though. Learn a piece, and overlearn some segments and just practice until bare competence on others. Record the subjective observations (feelings of ease) and even errors.

  14. I can say (after more than 35 years playing bass in a professional orchestra, we all learn differently. While some things are super easy for one person, the next player over will find it difficult. Whereas the person finding the one thing ‘hard’ will do something else super easily, while that same other player, will find it hard. Again, we are all wired differently. As experienced players, we discover that these same difficult passages keep coming back over time, so finding a way to internalize them (own it!) will make your life way easier, once you do.

    I have found that each student comes in with his/her own gifts and challenges and there is no same student. But each student also trains us as teachers to recognize or discover what worked, or what clicked to help that individual and over time, we recognize some of these similarities with others that come after them, which enable us to recognize them, and then ably help that next student.

Leave a Reply

Your email address will not be published. Required fields are marked *

Get the (Free) Practice Hacks Guide

Learn the #1 thing that top practicers do differently, plus 7 other strategies for practice that sticks.

Do you know your mental strengths and weaknesses?

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.