The Practice Revolution: Getting great results from the six days between lessons

At first one has doubts about Philip Johnston's book, as one has about any volume that claims to revolutionize the study of music. The breezy writing style and the bulleted and numbered headings, which make "The Practice Revolution" look like one of those innumerable self-help books aimed at the corporate world, are partly to blame. If one can get through these features, though, there is much of value here. Johnston correctly points out that the actual lesson occupies but a tiny fraction of a student's study of music, and that therefore what happens in between is crucial to the success or failure of music study. He catalogues common types of bad practicing and offers solutions for each; he shows that much apparent laziness among students stems from lack of clear communication and understanding between student and teacher, not lack of motivation. He is sympathetic to the real difficulties today's youngsters must deal with in terms of time management. Perhaps the most valuable section of the book consists of a variety of musical games designed to engender a milder form of performance anxiety in practice, so that the real pressure of a recital or contest won't come as a shocking and insurmountable obstacle. Other chapters on memorization, ironing out rough spots and interpretation, while solid, have been done as well or better in other classic texts on music pedagogy.Johnston's book has two notable flaws, the first minor, the second major. The minor flaw is that the entire book turns out to be in the nature of an advertisement for his Internet business; while this by no means is offensively done, nor does it negate the real value of the book, it is a little off-putting to the reader to discover this. A much more serious drawback is this: Johnston seems largely to discount the possibility that many of the problems students encounter in practice, that he spends pages trying to solve, can be ironed out in advance by the teacher, simply by choosing the right repertoire in the right order. An ill-chosen assignment means the student will either be bored by something way too easy, or made frustrated and insecure by something hopelessly beyond his or her technical/musical grasp. A thorough knowledge of the literature and the strengths and weaknesses of a student, and the ability to match the former with the latter, is an absolutely essential quality of a good music teacher. I find it inexplicable that the author barely mentions this fact.

This book has some very good ideas and a few that might not be so good. The general approach that learning music is simply a mental exercise is only partially true. The word "listening" is rarely, if ever, used in the book. It is a handbook on getting the notes right, memorizing them and preparing for the "delivery" in front of other people. These three areas are covered really well and undoubtedly one will discover in this book some new ways of practicing. Many very good ideas indeed. There are some shady areas though. Too many "games" with the text turn musical masterpieces into something else. One idea that is not very musical is to have students play together with recordings. At any rate, even though it is a real "salad bar" of various ideas, the book is certainly worth the time. Even if the students don't become musicians they will certainly learn from Mr. Johnston about task and time management.

I returned to piano lessons about 16 years ago after being away for nearly 20+ years. It wasn't until about 6 years ago I was able to find a teacher who, while technically skilled, is a remarkable musician and from whom I've learned A LOT really didn't help me address my practice problems. After reading your section on "Common Practice Flaws" I saw myself with at least six of them. No wonder I had been giving serious consideration to quitting...I just felt like my playing was not improving like it should.I'm going to take your book with me to my next lesson and, together, we'll map out a plan for my future. I am really inspired that I can fix these problems and start to make some real progress with my playing and learning.BTW, I spent about 20+ years in the sales field...I really think these concepts could apply to virtually any field of endeavor, particularly sales!I am really excited about the ideas presented in the book, and, more importantly, about it injecting new life into my learning process.

Caused me to think about my philosophy regarding practicing for my music students and modify my approach. The first time I told one of my 11 year old boy students that I didn't want him to spend any more time than he needed to on the assignment for a particular piece, he looked at me in disbelief. It led into a great review of smart practicing tips and he willingly accomplished it. Good insights and suggestions.

My practice for the piano has improved greatly and have improved sight reading skills. Also my reliability on pressing the right notes has improved with the 7 stages of misery section. A very powerful incentive not to be careless.My practice sessions are now more structured, and the use of the metronome before putting the hands together has cut down many hours of practice.Because I can read the notes quicker I can put more emphases on dynamics and expression.Before I read this book I was using every one of the flawed practice techniques,so you can imagine how unimpressive my playing was.Have gone back to the piano after 50 years and am enjoying it immensely. Am most grateful to find a book that exposes problems so clearly.

The information in this book is well presented and easy to read. I am a music student. Even though this book is written basically for a teacher, it provided immeasurable assistance in showing me where my practicing is inefficient. I fit into 11 out of 13 practice error categories. The author not only clearly identifies these practice traits, he also tells how to correct them. The games he provides are fun - but my ego will not let me play by the rules all the time. I expect great results from my improved practice sessions. This book also deals with the stage fright I get before a performance. This will be very useful.

Some interesting ideas and suggestions here, although a bit formulaic in it's approach and a little too rigid. I'm sure this method works well for some students that need goal orientatied stimulus.

Have you bought this book, yet? Buy it NOW. It's that good. I run a drum teaching studio with over 40 students/week and The Practice Revolution has transformed my business for the best. Within the first week of using it, one student said "That was the best lesson EVER!" I'm enjoying teaching again, my students are learning faster and more joyfully than ever before. My only regret is that I didn't find this book sooner. Now go and buy it, you'll be glad you did.

I bought this for my wife who teaches piano. She's quite liking some of the ideas in here.

Muy fácil de leer y enfatiza en los principales problemas que se presentan a los músicas a la hora de estudiar. Un libro imprescindible!!!

An amazing book, that makes you rethink the way you practice and teach. I keep rereading and applying it. Great!