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. 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 is how we can practice a piece for hours, days, or weeks, and still not feel that we’ve improved all that much. Why? For one, very little productive learning takes place when we practice this way. There are three major problems with the mindless method of practicing. 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). 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. In other words, just practicing any old way doesn’t cut it. 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. 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.
Anders Ericsson is perhaps the world’s leading authority. When it comes to understanding expertise and expert performance, psychologist Dr. 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. 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.
Practice with your mind and you will do as much in 1 1/2 hours.” Auer responded by saying “Practice with your fingers and you need all day. Violinist Nathan Milstein is said to have once asked his teacher Leopold Auer how many hours a day he should be practicing. Other great artists have expressed similar sentiments. 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.
Some of the great artists of the 20th century have shared their thoughts on these questions. Is there an optimal number of hours that one should practice? Is there such a thing as practicing too much?
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