Practicing Routine

One question I often get is “How should I practice for maximum effectiveness?” The way I approach practicing is in categories:

1. Scales
2. Technical Exercises
3. Etudes
4. Repertoire
5. Listening

1. Scales

Scales are the foundation of Western Classical music and all pieces can be boiled down to scales mixed up into the notes in an alternate order. Every week, I assign my students at least one scale to practice. Beginners will practice the scale and eventually the corresponding arpeggio. Advanced students will use the Carl Flesch Scale System and will be assigned a scale and exercise that is appropriate for them. Ideally, the scale should correspond to the key signature of either the repertoire or etude.

I teach students the scales in order of difficulty for the instrument rather than the Circle of Fifths. For violin, we start with A, D, and G Major and for viola D, G, and C.

2. Technical Exercises

We use technical exercises to practice speed, challenging note sequences, and specific bowing techniques. The Sevcik and Schradiak books are the ideal beginning place for technical exercises as they are widely used and can be used for the player’s entire life. The practicing possibilities are seemingly endless.

3. Etudes

The word “etude” is the French word for “study.” Etudes in the musical context are solo pieces where we practice specific techniques, rhythms, finger patterns, tone patterns, etc. In my studio, we generally start out with Wohlfhart Op. 38 or 45 and go on to Polo, Kayser, Kreutzer, Dont, Rode, and Paganini. Etudes are a place to practice the techniques for upcoming repertoire pieces, so they’re easier to play.

4. Repertoire

Repertoire are the fun songs and serious pieces that that the other elements of practicing prepare us to play. Repertoire is chosen based on the student’s individual abilities, skills they are developing, and goals. Depending on the student, I will use repertoire from a variety of places and books including Suzuki, Solos for Young Violinists/Violists, and IMSLP in addition to standard editions of pieces for older students.

5. Listening

Well informed ears equate to well informed performing. Listening is the most import and often underemphasized part of practicing. The more music we listen to, the clearer idea of how the piece we’re playing should be phrased and how the techniques should sound sped up. Classical music is filled with structure and order and, eventually, it will help us analyze and understand the pieces we’re playing.

Every week, I assign my students a piece to listen to based on a set of criteria that they give me. It’s not the piece they’re playing, but might be something from the same time period or something that I think they’ll find interesting based on the criterial the student gave me. At any given time, various students will be listening to repertoire spanning from the Middle Ages to John Cage.

In my studio, I use this basic template to assign homework, while recognizing that each student is unique. Some students need more assignments and some need less depending on life factors, practice time, and priorities.