The beginner
Good practice habits must be inculcated from the very start. Consider the first few lessons: new pupil will be learning very short pieces, so practice will inevitably be very repetitive. Make sure that you know exactly what you are to practice and exactly how to practice it.
1. listen
2. play with different dynamic patterns
3. learn from memory
4. play with your eyes closed
5. improvise or compose other pieces using the same notes.
The developing player
As you begin to develop, continually mention the importance of slow practice and of listening with a critical ear to everything you play. You should take care over details, for this is the means towards quality performing.
You need to identify and focus attention on particular areas and work at them in a methodical manner. Working on difficult sections should always be a primary focus, and you should know how to break down pieces and sections into a small manageable units.
When you study new rhythmical patterns or new techniques, make sure you understand then and how they can be practiced. As above, the same two fundamental rules always apply: you should know exactly what to do and how to do it. Always enquire how practice went. Were there any problems? What went well? After all, each week you should practice five or six times longer than the lesson.
More advanced players
By now your practice should be both efficient and effective. At this level it should be all absorbing and the highest level of concentration should be maintained. You should recognize the fact that really good practice is hard work and will not always bring about instant improvement. As technique and musicianship continue to improve, it becomes increasingly difficult to make obvious progress. But with sustained and diligent work progress will be made, and playing or singing will become more and more confident and reliable.
The greatest skill you need to learn is listen critically. Use the following questions when appropriate:
1. Was that a good sound?
2. Was it appropriate to the music?
3. Were the dynamic levels well related?
4. Was that cresc. effective?
5. Was that note in tune?
and so on.
