Why Practicing Practicing from an Early Age Is so Important
By Noa Kageyama, Ph.D.
A few years ago, I heard Robert Duke (who was once a band teacher) tell a story about how he flipped practicing, and got his students to beg him to be allowed to practice more.
Essentially, he told his students that they were not allowed to take their instruments home, until he had heard them play individually and gauged whether they could practice effectively and avoid developing bad habits.
Once they demonstrated a certain level of practice competence, they could take their instrument home – but only practice for a limited amount of time.
When they proved that they had reached the next level of practice competence, their daily allotment of practice time would increase, and so on.
This created a situation in which students would feel great pride in how long they were allowed to practice, and would essentially compete with each other to see who would be allowed to practice longer.
I thought this was a hilariously clever tactic, but the underlying idea upon which this is based is an important one.
Can young students be trusted to practice effectively on their own?
Two Australian researchers did a study tracking young musicians’ practice habits over a three-year span, to see how effectively young learners could self-regulate – or control and direct their own learning behaviors in six specific areas:
Motive: How capable are students of initiating practice on their own?
Time: How much do students practice? How effectively do they manage their practice time?
Method: What sorts of practice strategies do students use?
Performance outcomes: How capable are students at monitoring, evaluating, and controlling their playing?
Physical environment: How effectively do students structure their practice environment to minimize distractions and maximize learning?
Social factors: How much initiative do students take in seeking out help that might help them improve faster (asking questions, help from parents, etc.)?
157 families were approached, but relatively few agreed to videotape practice sessions, and fewer still followed through on a consistent basis. Ultimately, seven students’ videos were selected for inclusion in the study.
The included students were all aged 7-9. Two were complete beginners who didn’t know how to read music, while the other five had learned another instrument previously.
The practice videos spanned a 3-year period, and the researchers selected two practice sessions from the first year and two from the third year to analyze in greater detail.
Here are a few of the more interesting findings:
Even at this young age, there were clear differences in motivations for learning an instrument. Some expressed more externally motivated reasons, like wanting to be in band because their friends were doing it. Others had more internally driven reasons, such as liking music, or wanting to play specific pieces they liked.
Ultimately, the researchers found that the children who had more extrinsic reasons for learning made the least progress, while those who identified intrinsic reasons progressed more quickly. It seems that students motivated by a more personally meaningful reason to learn are more likely to engage in the kinds of behaviors that maximize learning.
Not all “practice time” was actually spent practicing. In year 1, for instance, only 72.9% of their time was spent actually practicing. They spent the remainder of time engaged in activities like looking for music, day-dreaming, etc.
As a group, they became more efficient practicers over time, but there were pretty significant individual differences from the very beginning. “Male Trumpet 1”, for instance, spent less time practicing than the others, instead engaging in avoidance behaviors like fiddling around with his instrument. As a result, it took him 3 years to reach the same level of playing that many of his peers had reached in 1 year.
The researchers suggest that tiny differences in the beginning can add up and have a significant impact on subsequent learning and students’ progress as the years go by.
As you might imagine, the beginners’ practice strategies were pretty unsophisticated. The most popular strategy was to simply play the piece through from beginning to end, which represented about 95% of their practice time.
There were some additional strategies, like foot-tapping, counting, thinking, singing, or silent fingering, but these were pretty rare to see (<2% of their time).
Another finding, was that despite being asked by their teachers to repeat pieces until they came more easily, ~90% of the time, students played through a piece only once, and looked pretty content to move onto something else once they got to the end, regardless of how it sounded.
4. Performance Outcomes
One of the key areas of self-regulation is the ability to know when you’ve made an error, stop playing, and fix it.
In year 1, most of the young learners simply ignored their pitch errors (there were so many rhythm errors that the researchers stopped keeping track). But here too there were individual differences. Some students were much more capable of noticing and correcting their errors, and played better on the second run-through of a piece, while others actually made more errors on subsequent run-throughs.
Based on their data, the researchers suggest that teachers stop during lessons and ask students to reflect and comment on the accuracy of what they just played.
This could then be the basis for teaching students strategies like mentally singing the opening phrase before playing, or looking at the music to identify potential trouble spots, or remembering to think about the tempo or key before they play.
Their other suggestion was to occasionally take a momentary time-out in lessons and ask students to demonstrate how they would practice a tricky section. To see how they approach listening and problem-solving – to essentially practice practicing in lessons.
Admittedly, it’s a small sample of students, but the researchers make two specific recommendations based on the observation that while most of the students displayed the desire to practice in the videos, they didn’t appear to have the skills required to practice effectively.
In other words, while their teachers were helping them identify what to practice, the students weren’t very clear on how to practice. Students were also not so great at noticing errors and monitoring the quality of their playing.
Thus, the researchers’ recommendations to teachers were twofold:
1. Spend time demonstrating or modeling specific practice strategies during lessons, that students can try using at home during the week.
2. Find ways to help young learners reflect on the quality of their practice time. Whether through practice diaries or goal-setting exercises, help students get better at listening/evaluating their own playing, and making better decisions about what to spend time working on. Because these are not necessarily things that students will intuit on their own – and the researchers suggest that the tiny differences that start to appear even in the very first practice sessions accumulate over time and could very well be the difference between a student who practices harder, is more confident about their learning ability, and achieves at a higher level, and a student who lags behind.
Performance psychologist and Juilliard alumnus & faculty member Noa Kageyama teaches musicians how to beat performance anxiety and play their best under pressure through live classes, coachings, and an online home-study course. Based in NYC, he is married to a terrific pianist, has two hilarious kids, and is a wee bit obsessed with technology and all things Apple.
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 a few tweaks in your approach to practicing. 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 discover the 7 skills that are characteristic of top performers. 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.