I recently devised a general practice plan, not only for myself but for others. You can download it here. This may not seem like much at first glance, but it is really something special when it is used as a framework to develop more specific practice plans adapted for each practice session.
In this article, I will demonstrate how to use this practice plan to optimise your individual practice sessions. It's pretty simple, as it essentially just boils down to writing down what you plan on practicing for your next session, and notating anything relevant.
Section 1 "Repertoire":
For repertoire, four categories are listed: Classical, jazz, music you like, and your original compositions. You can add or remove what ever style of music you prefer to work on, these are just suggestions that promote well-rounded musicianship.
An example of repertoire choices for an upcoming practice session could look like this:
- Classical:
- Solfeggietto in C minor by C.P.E Bach.
- Prelude in C major from The Well Tempered Clavier.
- Music I like:
- Plastic Love by Takeuchi Mariya.
- The End of This Chapter by Sonata Arctica.
- Originals:
- The Young Boy and the Little Muse.
- I'll Be Your Friend
- Happily Ever After
Those with a keen eye may have noticed I didn't choose any jazz repertoire like the general plan suggests. I purposely chose to omit something just to show that you don't need to practice every single thing every single time. It is up to you to create your own plans that work best for you in that given moment.
To augment your study and practice of new repertoire I highly suggest notating challenging passages and phrases to analyse, alter, and transpose to other keys.
Section 2 "Composition":
Composition doesn't need to be something complex. Just notating a bar or two of melody, a rhythmic pattern, or working on a chord progression, is a great start. With regular practice, this exercise naturally progresses into composing passages with greater depth, and that in turn progresses into composing entire pieces of music.
Here are some examples of what one might compose for the three compositional categories of melody, harmony, and rhythm:
Example of melodic composition:
Example of composing harmony:
CMaj7 - - - | Am7 - - - | Dm - - - | F - - - |
Example of composing rhythm:
Section 3 "Aural":
This is quite straight forward. Just try to try and translate what you hear musically onto the instrument, as a chord chart, a lead sheet, or as pure notation.
Just a little bit of this practice often, in conjunction with other fields of practice, will sharpen your aural and transcription skills significantly.
Of course, this can't be done without choosing a song or a piece to study aurally. So it is vital that before your practice session, you write down the piece(s) you desire to study aurally in your practice journal as a reference.
Section 4 "Technique and Theory":
Transposition, harmonic analysis, etudes, and sight-reading practice are pretty straight forward. As usual, it is ideal to journal and notate your findings and ideas. Some examples could look like this:
Transposition examples:
- Play a minor 7th chord in all keys.
- Transpose the Prelude in C Major to D Major and F# Major.
Harmonic analysis example:
- Find the respective chord degrees for your original compositions.
Etude practice:
- School of Virtuosity Op 365 by Czerny - Exercise 3.
Sight-reading practice:
For technical exercises of scales and arpeggios, I highly suggest coming up with your own. This can be as simple as one or two bars of a scale or arpeggio pattern. I also suggest writing it in one key of your choice, but practicing it across all keys and discovering the most natural fingerings for each pattern.
Here are some examples:
A scale exercise in C Major:
An arpeggio exercise in C Major:
Metronome practice is also quite straight forward. Just choose a piece you have some familiarity with and alter the tempo. Faster is not necessarily better, as slowing down a piece may often reveal passages in which you have poor technique or excess tension which may then be resolved in order to play it more comfortably and with greater speed when it is appropriate.
Currently, I am working on my technique for Solfeggietto to ease the tension, build comfort, and increase the speed of my performance. This is achieved not only by incrementally increasing the tempo on the metronome, but also by playing at a slower tempo to refine the areas that I often rush and play hastily.
Improvising with the metronome is also good. Experiment with new time signatures like 7/4 and subdivisions like pentuplets. If you can't play it, slow it down.
Section 5 "Mental Exercises":
No access to an instrument, music, or pen and paper? No worries, just imagine it.
You can even plan ahead by writing in your practice journal what you plan to visualise and imagine hearing in those moments when you have no instrument or paper present.
If you're a multi-instrumentalist, you could perhaps choose to focus on visualising just one instrument for the day, or several instruments.
You could also choose to visualise notating music, it helps to have some kind of guide on what you will notate. You could plan "today, I will visualise quavers exploring the C major scale on the bass clef in 4/4 timing, and I will imagine that I can hear the notes that I choose in my mind".
Even your goals and career can benefit from visualisation exercises. Your next performance or music lesson will go along so much smoother if you can visualise and imagine it being fun, engaging, and going smoothly. Try to keep an open mind.
Positive affirmations are great to combat potential errors in our self image and impostor syndrome. Simply reminding yourself positive (but true) statements like "I have been practicing regularly, I am improving, and my goals are being achieved" is a great trick to wire your brain into being more motivated and less worried about poor performance.
Be positive, but be realistic. Nobody likes somebody who affirms they can achieve anything without putting in the practice.
Keeping a music journal is vital. If you aren't journaling your reflections and pursuit of goals, you are robbing yourself of a goldmine of insight, control, and progress. Please, I beg aspiring musicians who do not yet journal to embrace this practice, you will not regret it.
And lastly. Any area of your practice can be done mentally. Whether it is repertoire, composition, aural, or whatever. It will give you something better to do than gaze at your phone while on public transport.