Optimizing Your Practice Routine


A well-planned routine reduces stress and increases productivity. Laura Ortiz highlights that productivity is not just about playing; it also includes rest, nutrition, and exercise. Planning practice sessions according to energy levels, using strategies like:


  • The Versioned Pomodoro Technique: For example, 45-minute focused practice + 10-minute break, adapting duration based on how you feel.


  • Varied Practice Strategies: Using different approaches like Susan Williams' "Quality Practice" cards (available for free at the Conservatory).


To stay focused, it also helps to plan other tasks in between practice blocks—having something else to do makes it easier to dedicate full attention when returning to the instrument.

Setting Goals: A Roadmap for Effective Practice


Irma Kort (2024) reminds us: “If you don’t have goals, it’s not practice.” Having clear objectives allows for efficient and meaningful progress. Instead of playing aimlessly, define what you want to achieve before starting:


  • What do I want to improve today?

  • What worked well in my last session?

  • What didn’t work, and why?

  • What strategies can I use to solve this problem?


These questions help transform practice into a problem-solving process rather than a routine repetition of mistakes. Gerhard Mantel (2013) contrasts two approaches:


  • The "Principle of Hope": Repeating something many times, hoping it will improve, often leads to frustration and inefficiency.

  • The "Principle of Problem-Solving": Identifying challenges, analyzing obstacles, and selecting appropriate methods to overcome them.


To develop problem-solving skills, it’s crucial to break things down into small, achievable steps and monitor progress through self-feedback and external feedback (recordings, teachers, peers).

Practicing is not just about repeating notes on an instrument—it’s a process of structured learning, self-reflection, and mental preparation. A well-organized practice session involves clear goals, varied strategies, self-awareness, and a positive mindset. This section brings together what has worked for me personally, insights from interviews I conducted, and key concepts from Gerhard Mantel’s book “Einfach üben: 185 unübliche Überezepte für Instrumentalisten” (2013).

Additional Resources:

When in the Practice Room

Shifting Mindset: From Frustration to Growth


Mental approach defines how we experience practice. A positive mindset, as emphasized by Irma Kort and Laura Ortiz (2024), enhances learning. Ortiz (2024) stresses the importance of intentions:


  • Before practicing, setting a clear intention (e.g., "Today, I want to stay calm in class").

  • Repeating this intention helps the brain focus and re-center when distracted.


Scientific studies confirm that self-talk affects performance:


  • Positive inner dialogue ("I can't do it yet, but I’m going to focus on this now") boosts motivation and results.


  • Negative thoughts ("I’m terrible at this") decrease efficiency.


This aligns with Susan Williams’ insight: aligning goals with how you feel and what you’ve prepared for the performance is key to maintaining motivation and avoiding burnout.

Doing Something Else: The Importance of Balance

Irma Kort (2024) also highlights that practice isn’t just about playing—it’s about creating a balanced routine that nurtures creativity and focus. Taking breaks to do something enjoyable, even unrelated to music, can be incredibly beneficial. Some ideas she suggests:


  • Go for a walk and connect with nature.

  • Read about something inspiring.

  • Explore the theory behind a piece.

  • Play the reduced part on the piano.


These activities give the brain time to process information and return to practice with fresh energy and perspective.

End note

These principles make practice become more effective, engaging, and fulfilling—not just a routine, but a dynamic and evolving journey.

Simulating Performance Conditions

For auditions or concerts, preparation should go beyond technique:


  • Play in different rooms to adjust to new acoustics.

  • Perform under physical stress (e.g., after jumping or planking) to simulate adrenaline.

  • Dress up for practice to create the mindset of a real performance.


Jan van Beek (2024) emphasizes the importance of understanding emotions and using tools to navigate them, by understanding that "every emotion has a value" and that we need to "speak the language of them".

Another important tool is a practice diary. This is a book where you write down everything about your practice. You should write down every detail that you want to improve and your reflections before and after each lesson. You can get a free practice diary from the reception desk. If you don't have a diary, please ask for one.

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