How Many Hours a Day Should You Practice

2 hours? 4 hours? 8 hours? 12 hours?

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. I seem to recall reading an interview with Rubinstein years ago, in which he stated that nobody should have to practice more than four hours a day, explaining that if you needed to practice more than four hours a day, you probably weren’t doing it right.

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. Auer responded by saying “Practice with your fingers and you need all day. Practice with your mind and you will do as much in 1 1/2 hours.”

Heifetz also indicated that he never believed in practicing too much, and that excessive practice is “just as bad as practicing too little!” He claimed that he practiced no more than three hours per day on average, and that he didn’t practice at all on Sundays. You know, this is not a bad idea – one of my own teachers, Donald Weilerstein, once suggested that I establish a 24-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. K. Anders Ericsson is perhaps the world’s leading authority. His research is the basis for the “ten-year rule” and “10,000-hour rule” which suggest that it requires at least ten years and/or 10,000 hours of deliberate practice to achieve an expert level of performance in any given domain – and in the case of musicians, often closer to 25 years in order to attain an elite international level. 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. In other words, just practicing any old way doesn’t cut it.

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?

You’ll notice that the majority of folks practice rather mindlessly, either engaging in mere repetition (“practice this passage 10 times” or “practice this piece for 30 minutes”) or practicing on autopilot (that’s when we play through the piece until we hear something we don’t like, stop, repeat the passage again until it sounds better, and resume playing through the piece until we hear the next thing we aren’t satisfied with, at which point we begin this whole process over again).

There are three major problems with the mindless method of practicing.

1. It is a waste of time

Why? For one, very little productive learning takes place when we practice this way. This is how we can practice a piece for hours, days, or weeks, and still not feel that we’ve improved all that much. Even worse, you are actually digging yourself a hole by practicing this way, because what this model of practicing does do is strengthen undesirable habits and errors, literally making it more likely that you will screw up more consistently in the future. This makes it more difficult to correct these habits in the future – so you are actually adding to the amount of future practice time you will need in order to eliminate these bad habits and tendencies. I once worked with a saxophone professor who was fond of reminding his students that “Practice doesn’t make perfect, practice makespermanent.”

2. It makes you less confident

In addition, practicing this way actually hurts your confidence, as there is a part of you that realizes you don’t really know how to consistently produce the results you are looking for. Even if you establish a fairly high success rate in the most difficult passages via mindless practice, and find that you can nail it 3 or 4 out of every 5 attempts, your confidence won’t grow much from this. Real on-stage confidence comes from (a) being able to nail it 10 out of 10 tries, (b) knowing that this isn’t a coincidence but that you can do it the correct way on demand, because most importantly (c) you know precisely why you nail it or miss it – i.e. you know exactly what you need to do from a technique standpoint in order to play the passage perfectly every time.

You may not be able to play it perfectly every time at first, but this is what repetition is for – to reinforce the correct habits until they are stronger than the bad habits. It’s a little like trying to grow a nice looking lawn. Instead of fighting a never-ending battle against the weeds, your time is better spent trying to cultivate the grass so that over time the grass crowds out the weeds.

And here’s the biggie. We tend to practice unconsciously, and then end up trying to perform consciously – not a great formula for success. Recall from this article that you have a tendency to shift over into hyper-analytical left brain mode when you walk out on stage. Well, if you have done most of your practicing unconsciously, you really don’t know how to play your piece perfectly on demand. When your brain suddenly goes into full-conscious mode, you end up freaking out, because you don’t know what instructions to give your brain.

3. It is tedious and boring

Practicing mindlessly is a chore. Music may be one of the only skill-based activities where practice goals are measured in units of time. We’ve all had teachers who tell us to go home and practice a certain passage x number of times, or to practice x number of hours, right? What we really need are more specific outcome goals – such as, practice this passage until it sounds like _____, or practice this passage until you can figure out how to make it sound like _____.

After all, it doesn’t really matter how much time we spend practicing something – only that we know how to produce the results we want, and can do so consistently, on demand.

Deliberate Practice

So what is deliberate, or mindful practice? Deliberate practice is a systematic and highly structured activity, which is, for lack of a better word, scientific. Instead of mindless trial and error, it is an active and thoughtful process ofexperimentation with clear goals and hypotheses. Violinist Paul Kantor once said that the practice room should be like a laboratory, where one can freely tinker with different ideas, both musical and technical, to see what combination of ingredients produces the result you are looking for.

Deliberate practice is often slow, and involves repetition of small and very specific sections of your repertoire instead of just playing through (e.g. working on just the opening note of your solo to make sure that it “speaks” exactly the way you want, instead of playing the entire opening phrase).

Deliberate practice involves monitoring one’s performance (in real-time, but also via recordings), continually looking for new ways to improve. This means really listening to what happens, so that you can tell yourself exactly what went wrong. For instance, was the first note note sharp? Flat? Too loud? Too soft? Too harsh? Too short? Too long?

Let’s say that the note was too sharp and too long with not enough of an attack to begin the note. Well, how sharp was it? A little? A lot? How much longer was the note than you wanted it to be? How much more of an attack did you want?

Ok, the note was a little sharp, just a hair too long, and required a much clearer attack in order to be consistent with the marked articulation and dynamics. So, why was the note sharp? What did you do? What do you need to do to make sure the note is perfectly in tune every time? How do you ensure that the length is just as you want it to be, and how do you get a consistently clean and clear attack to begin the note so it begins in the right character?

Now, let’s imagine you recorded all of this and could listen to how this last attempt sounded. Does that combination of ingredients give you the desired result? In other words, does that combination of ingredients convey the mood or character you want to communicate to the listener as effectively as you thought it would?

Few musicians take the time to stop, analyze what went wrong, why it happened, and how they can correct the error permanently.

How Many Hours a Day Should I Practice?

You will find that deliberate practice is very draining, given the tremendous amount of energy required to keep one’s full attentional resources on the task at hand. Practicing more than one hour at a time is likely to be unproductive and in all honesty, probably not even mentally or emotionally possible. Even the most dedicated individuals will find it difficult to practice more than four hours a day.

Studies have varied the length of daily practice from 1 hour to 8 hours, and the results suggest that there is often little benefit from practicing more than 4 hours per day, and that gains actually begin to decline after the 2-hour mark.  The key is to keep tabs on the level of concentration you are able to sustain.

5 Keys For More Effective Practice

1. Duration

Keep practice sessions limited to a duration that allows you to stay focused. This may be as short as 10-20 minutes for younger students, and as long as 45-60 minutes for older individuals.

2. Timing

Keep track of times during the day when you tend to have the most energy. This may be first thing in the morning, or right before lunch, etc. Try to do your practicing during these naturally productive periods as these are the times at which you will be able to focus and think most clearly.

3. Goals

Try using a practice notebook. Keep track of your practice goals and what you discover during your practice sessions. The key to getting into the “zone” when practicing is to be constantly striving to have clarity of intention. In other words, to have a clear idea of the sound you want to produce, or particular phrasing you’d like to try, or specific articulation, intonation, etc. that you’d like to be able to execute consistently.

When you figure something out, write it down. As I practiced more mindfully, I began learning so much during practice sessions that if I didn’t write everything down, I’d forget.

4. Smarter, not harder

Sometimes if a particular passage is not coming out the way we want it to, it just means we need to practice more. There are also times, however, when we don’t need to practice harder, but need an altogether different strategy or technique.

I remember struggling with the left-hand pizzicato variation in Paganini’s 24th Caprice. I was getting frustrated and kept trying harder and harder to make the notes speak, but all I got was sore fingers, a couple of which actually started to bleed. I realized that there had to be a smarter, more effective way to accomplish my goal.

Instead of stubbornly keeping at a strategy or technique that wasn’t working for me, I forced myself to stop practicing this section altogether. I tried to brainstorm different solutions to the problem for a day or so, and wrote down ideas to try as they occurred to me. When I felt that I came up with some promising solutions, I just started experimenting. I eventually came up with a solution that I worked on over the next week or so, and when I played the caprice for my teacher, he actually asked me how I made the notes speak so clearly!

5. Problem-solving model

Consider this 6-step general problem-solving model summarized below (adapted from various problem solving processes online).

1. Define the problem (what do I want this note/phrase to sound like?)
2. Analyze the problem (what is causing it to sound like this?)
3. Identify potential solutions (what can I tweak to make it sound more like I want?)
4. Test the potential solutions to select the most effective one (what tweaks seem to work best?)
5. Implement the best solution (make these changes permanent)
6. Monitor implementation (do these changes continue to produce the results I’m looking for?)

Or simpler yet, check out this model from Daniel Coyle’s book The Talent Code.

1. Pick a target
2. Reach for it
3. Evaluate the gap between the target and the reach
4. Return to step one

It doesn’t matter if we are talking about perfecting technique, or experimenting with different musical ideas. Any model which encourages smarter, more systematic, active thought, and clearly articulated goals will help cut down on wasted, ineffective practice time.

After all, who wants to spend all day in the practice room? Get in, get stuff done, and get out!

Dr. Noa Kageyama

Does Mental Practice Work?

It is said that legendary pianists Rubinstein and Horowitz weren't always fond of practicing. Rubinstein simply didn't like practicing for hours on end, while Horowitz supposedly feared that practicing on pianos other than his own would negatively affect his touch. Their solution? A healthy dose of mental practice.

Though many of us may never be legends, mental practice is something that all musicians can absolutely benefit from, regardless of skill level.

Have a concert coming up that you’re not ready for, but too tired to practice? Want to practice but can’t, because of a flare-up of tendonitis or a bad cold? Practice rooms full? Instrument in the shop? Too early/too late to practice? Only have 15 minutes, so it’s not really worth getting your instrument out of your locker, finding a practice room, and getting set up, only to have to quit a few minutes later?

Sound familiar?

Sure, but just imagining yourself playing can’t be the same as real physical practice, right?

You’re right. It’s not the same, but from studies of athletes, we know that successful individuals tend to engage in more systematic and extensive mental rehearsals than less successful individuals. Yes, I acknowledge that there are some differences between athletes and musicians – but not as many as you would think when it comes to the mental aspect of performance.

Furthermore, researchers are finding more neurological and physiological evidence to support what top athletes such as basketball great Larry Bird, Olympic diver Greg Louganis, and golfer Tiger Woods have known for years – that mental practice produces real changes and tangible improvements in performance. In one study, participants who mentally practiced a 5-finger sequence on an imaginary piano for two hours a day had the same neurological changes (and reduction in mistakes) as the participants who physically practiced the same passage on an actual piano. Some have suggested that mental practice activates the same brain regions as physical practice, and may even lead to the same changes in neural structure and synaptic connectivity.

In other words, there is growing evidence that mental practice (if done correctly), can absolutely make a difference in your playing.

My Experience with Mental Practice

I remember when I was 4 or 5, my Mom would put me down for a nap before performances, and tell me to lie quietly in my room mentally going over my performance note by note. I thought this was silly at the time, but it kind of stuck, and just became part of what I did.

I found out years later that this mental practice habit contributed to my developing a reputation in college for not practicing because I spent so little time at the practice rooms. Mostly, the reputation was true – I practiced maybe a couple hours a day at most and usually even less on the weekends. I heard that another violinist in my studio asked our teacher how I was able to play as well as I did despite practicing so little. She told him that most of my practicing took place in my head, so I didn’t need to spend as much time in the practice room. I don’t know how she knew this, but she was right. Off and on throughout the day, whether I was walking to class, eating, or just sitting around, I would often find myself inside my head, hearing whatever I was working on, seeing and feeling my fingers play the notes, trying out different fingerings or bowings, experimenting with shifts and finger pressures, correcting mistakes, all in my head. At the end of the day, I’d spend an hour or two going over the things I had already spent all day working on, and that would be the end of it.

In all honesty, I really should have practiced more, so I can’t endorse the idea of trying to get away with practicing only an hour or two a day (though you may wish to read this article on how to practice more efficiently). I also can’t promise that you will sound like a Rubinstein or Horowitz if you engage in more mental rehearsal, but I do know that if you don’t engage in mental practice, you are totally missing out on a tremendous tool for improving your playing.

Keys to Effective Mental Practice

The psychological literature on mental rehearsal suggests that there are two important keys to keep in mind when engaging in mental rehearsal – that it be systematic and vivid. In other words, mental practice is not the same as daydreaming, in the same way that practicing on autopilot is not very helpful. To be effective, it must be structured just as actual practice, with self-evaluation, problem solving, and correction of mistakes.

Some Guidelines on Mental Rehearsal

Here are some ideas on how to get started.

1. Calm down
Close your eyes. Focus only on your breathing for a minute. Breathe in slowly and fully through your nose, then breathe slowly out through your mouth. Then do a total body scan for tension: check your head and facial muscles, your jaw, neck, shoulders, arms, wrists, hands, back, hips, quads, hamstrings, calves, ankles, even toes. Let any tension you find just melt away.

2. Expand your focus
It can be anything – your instrument, the stand in your practice room, a specific wall. See it in your head. At first, it may not have much detail, or you may have trouble bringing it into focus. That’s ok, your goal is to take something small, make it more vivid, and begin to expand that vividness into the rest of your imagined environment. You’ll get better with practice.

3. Warm up
Imagine yourself playing scales or warming up with something easy. Can you hear yourself? Exactly the way it sounds? What do you feel? Can you feel your fingers, your arms, shoulders, lungs, throat, etc.? See how vividly you can mentally recall the kinesthetic elements involved in playing your instrument.

4. Imagine
See, feel, and hear yourself starting to play. Concentrate on the motions that produce the sounds and effects you want as you go through the music, note by note, phrase by phrase in your head. Keep “playing” until you make a mistake or feel the need to correct the way something sounded.

5. TiVo it
When you “hear” or “see” yourself play something that doesn’t sound like you want it to, immediately hit the pause button on your mental TiVo. Rewind to a place before the mistake. Start from that point, moving slowly forward, at a speed you can control. Repeat this process several times, just as you would in real practice, until you’re doing it correctly up to speed. Don’t just keep rewinding and trying it again mindlessly – make sure you hit pause, think about why the mistake happened, hit play, try it again, and then move on when you’re satisfied you got it down and know why the mistake happened in the first place.

6. Keep it real
It’s important to make the experience as vivid and real as you can – feel the instrument under your fingers, hands, lips. Really hear the sound, the textures, the volume. See the room around you and the instrument you are playing.

Additional Suggestions

When you use this technique, break it up into shorter segments, like phrases or shorter sections of the piece. You don’t always have to play straight through.

Try visualizing yourself in different locations, wearing different clothes, and in different conditions.

When you feel you’ve gotten the hang of mental practice, try testing yourself. Record yourself performing an excerpt, review and rate your performance, then run through a series of mental rehearsals of that excerpt taking notes about what you notice. Then perform again, review and rate your performance, and make note of what has changed.

Once you make systematic mental practice a part of your everyday practice routine, I am certain you’ll soon wonder how you ever did without it.

Dr. Noa Kageyama