Recommended Reading
'Practice makes perfect!' -- or so we are led to understand from school onwards; and it is of course true, as far as it goes. The way we practise, however, is as important as the practice itself.
As with everything, there is a 'honeymoon period' when learning an instrument, a wave of natural enthusiasm which carries the student forward over the first few weeks. The problem then is how to keep it going, as the process of learning new muscular and reading skills makes itself felt.
A famous football manager used to tell his players, 'Love the ball, and the ball will love you!' -- very sensible advice! The secret is to enjoy one's practice times, rather than regarding them as a chore. Adults can readily appreciate this; children, however, may need to be persuaded! The participation or genuine interest of a parent in the early stages of learning can be crucial to a child's progress, I find. It is not necessary for the parent to be especially musical: often the interest is enough -- and children are more than willing to demonstrate what they have learnt and instruct the parent for a change!
Most teachers would agree that a little practice done regularly is more valuable -- and more fun -- than a long session once or twice a week. Most children will allow themselves to be coaxed into a regular routine if there is a reward at the end of it, such as using their computer or watching TV. Then after a while the reward often becomes unnecessary, as the student begins to take a more active pleasure in his or her music-making.
It is worth remembering, however, that children, like adults, have only a limited supply of time and energy per week. Anyone who wishes to learn an instrument should ask themselves whether they genuinely have the time at their disposal to practise regularly. If the student's week is already filled with tutorials and activities of various kinds, it would be unfair to expect rapid progress on an instrument: one cannot do everything.
So, how much practice should one do? In the early stages, 10 or 15 minutes might be enough for young children, provided it is done daily or every other day, on average. Adults and more experienced young players might spend longer -- say, 30 minutes or so at a stretch; resting of course when there is any physical discomfort or tension. But more important than time is the approach one takes. A single play-through of a recital piece might be enjoyable, but in itself does not constitute practice. More useful by far is to mark the difficult passages with a pencil and go over them slowly and carefully, until they sound exactly right, listening to a recording of the piece if there is one available.
This willingness to 'get it right' characterizes all the best musicians, in any field -- classical, pop, jazz, or whatever. Only then will the performer have the confidence to play in front of others, such as an examiner or an audience. It takes time and patience, but is definitely worth it! To see your child receive their first exam certificate, or play their first piece in a school concert, is an experience not to be missed.
