How should I practice?

As a teacher one of the most frequently repeated phrases I hear from students on pulling their guitar from their case is “oh, I’ve not done much practice this week”. And it always makes me chuckle. What is “not much” to one person can be “quite a lot to another” and what you do in that “not much” counts for a lot too.

Anyway, here are my top tips for practice time…
Make each practice session count

Don’t just plonk yourself down and go through the motions of a few scales, arpeggios and a play through a piece. What do you really want to get out of the session?  What are you wanting to improve or change and how are you going to do it?

I quite like this cheesy management-type quote I saw recently, that kind of fits well here:

with better awareness you can make better choices and when you make better choices, you will see better results”  Robin Sharma

Think ahead and plan your week out a bit

Do you know what days or times that you wont be able to practice due to other commitments? Make sure you know those and plan your practice sessions in around those and avoid the “oh, I’ll have a day off” and then the next day “oh bugger, I can’t practice tonight because I’ve got to “whatever it is” to do

Do a little bit and often

This is probably one of my biggest recommendations. If you only had, for argument’s sake, 3 hours total in a week to practice. You’d be far more likely to see development and progress by splitting that time across six half hour-long sessions, than one or two über-sessions. You don’t see a marathon runner training just one or two days a week; they tend to split their training across the week. Consistency is the key for them, and same for guitarists.

Think of it being more about frequency and quality rather than straight-up quantity.

The brain will pretty much forget what you practiced last time, or at the best, not progressed from where you left off, if you’re only practicing once or twice a week. You’re also less likely to suffer from mental and physical fatigue if you’re breaking it down into more manageable chunks.

By practicing a little bit every day you’re reinforcing the learning both in your brain and in your muscle memory. You’re also better able to build a little on the previous day’s learning each time.

Practicing a little every day, particularly when first starting out or first coming back to the guitar after a hiatus of some kind, can help turn practice into a habit. We are creatures of habit and our brains are apparently happy when we’re doing familiar things. Someone told me that it takes doings something 11 times to turn it into a habit and I’ve also heard repetition over 21 days – not sure of the truth of that, but it sounds good, and not so long in the grand scheme of things.

Enjoy it!

Most importantly, have fun with it. OK, there are going to be challenging moments, and nothing worthy is achieved without hard work but,  the over-riding experience should be FUN. We play guitar, we play music, because we love it. Practice time should, above all, enjoyable. Keep it mixed up and vary what and how you practice to keep it fun and interesting for yourself.

Do you really know what you know?

So do you really know the piece you’re learning or playing at the moment?

I mean, do you think about what you’re practicing.

Well, I don’t mean that actually. I mean more like HOW you’re practicing.

Do you know exactly which are the trouble spots in a particular piece you’re playing?

How are you working through those trouble spots?

Is the method or methods you’re currently using to work it out getting the results you’re after?

Do you know what the results are that you’re after? Definining that and being quite sure about how you want things to sound, or feel, or be phrased is a big step towards a solution to a tricky spot.

Having defined that, are the methods you’re using to work through  tricky spot really working or do the same issues keep cropping up each time you come to practice? Perhaps they’re not really working, or have reached their natural limit.

If a solution is not working or giving us the results we want,then it’s time to  take a different perspective and look at what is really going on; start deconstructing things.

Do you really know what you’re playing in that spot? Chances are you’re probably reasonably aware of the left hand fingering and where things are moving in that regard. This is where we have a tendency to focus our “what are my fingers doing” knowledge.

What about the right hand?
Do you really know which right hand fingers you’re using for that spot?

Are they the best fingers to be using? Are there potentially easier alternatives to be using? Think about where your fingers are coming from – what are you playing preceding the particular section you’re working on?

And where are you moving to? Does the fingering you’re using set you up for a fluid transition into the next phrase or bar?

Are you consistently using the same fingering? Knowing that you’re rocksteady in your fingering and approach will eliminate those elements of doubt and the micro-seconds of umm ing and ahhing during a performance.

Really knowing both you left and right hand fingering really allows you the freedom to just play, forget about the technique and enjoy it, safe in the knowledge that it’s going to happen as planned. Well, that’s the theory anyway!