The Problem

Most music students simply do not know how to practice effectively. They may have a few, well-worn strategies that help them learn the correct notes and rhythms. Beyond that, however, most students find little success in the practice room.

In fact, I would surmise that if most educators were truly honest, they would probably admit that they do not practice very efficiently themselves. We might also admit that it took many years of trial and error to develop a few effective practice techniques on our own.

Besides, even if we felt we had all the answers, how could we possibly find time during class to talk about practice techniques? Instead, we just tell our students to, “go practice” and come back tomorrow.

The Solution

During the last two decades, I have observed music students struggling with individual practice, and became convinced that there had to be a better way. I worked through countless research studies and read dozens of books to find helpful techniques for students. The result of that work is my latest book, Practicing with Purpose (Meredith Music Publications). It includes 50 practice techniques derived from research studies, anecdotal evidence, discussions with recognized artists, and countless conversations with students. The resulting text provides teachers and students with the philosophies, strategies, and tools to navigate the practice process more effectively and efficiently.

Teaching students to practice effectively can be more enjoyable than you might imagine. When I speak to music teachers about teaching practice techniques to their students, I highlight a few of the strategies found in the book. Two of the more popular suggestions relate to practice plans and assessment, as described below.

Practice Plans

Imagine that you are the track coach at your school, and the athletes are showing up for their first track practice session of the new season. What is your job at this moment? My guess is that you are going to say a few words of inspiration, and then split everyone into disciplines (hurdles, long jump, 400m relay, etc). Next, you are going to describe the workout session for each group. For the 400m runners it might look something like:

• Warmup – two laps on track, medium speed
• Stretches – as prescribed by coach
• Drills (event) – 4 X 400 at 70% followed by 30-sec rest
• Drills (speed) – 4 X 100 at 90% followed by 30-sec rest
• Exercises – core workout as prescribed by coach
• Cool Down – light running/walking on track

This point is that every group of athletes is given a workout plan developed by an expert in the field. The athletes do not have to develop a plan on their own. They simply execute the workout plan to the best of their ability.

What would happen if we applied this concept to music study? I recommend developing a workout plan (practice plan) for your students in each group. Say a few inspiring words and then let the students execute the plan that you created for them. I firmly believe that this one change in your teaching will make a significant impact on your music program.

A simple practice plan might look something like:

• Warmup – Long tones with excellent posture and holding position
• Drill – E-flat major scale, tongued, eighth-note=80 bmp – two times
• Drill – Concert Piece, m. 12-36, learn notes/rhythms with metronome @ 76 bmp
• Drill – Record yourself playing the bottom line of a short duet, then play top line along with the recording
• Cool Down – record time and reflections on practice card/journal

Assessment

Once practice plans have been established in your music program they also provide opportunities for meaningful assessment data. Many music teachers utilize practice cards to collect assessment data. Students complete the practice cards based on the amount of time they practiced at home. Parents (theoretically) corroborate with the students, sign the card, and students earn grade points. In my experience, however, time is not a good indicator of progress. Are parents really checking to see if that practice card is accurate anyway? We already know the answer…

Instead of practice cards based on time alone, try a different approach. Provide practice plans for the students as described above and then ask them to return two pieces of information:

1. Time: how much time did each task on the practice plan require?
2. Reflection: what got better today, what still needs improvement?

Music teachers can alter the reflection questions/prompts each day/week to gather more specific information from students. Those responses will inform future practice plan creation. Eventually, more mature students will be able to create practice plans on their own based upon effective, post-practice reflection. The student-created practice plans become another piece of assessment data.

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A Cyclical Process

Motivation in the practice room is a cyclical process. First, students need to be given practice plans with small, achievable goals developed by an expert in the field. Next, they need to execute the practice plan and realize progress on their instrument. Finally, they need an extrinsic reward for doing the work. That simple process provides the motivation that will feed a life-long love of practice.

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Integrating Common Core Standards into the music classroom is an important (and often required) contribution to the school’s learning community. As music educators, we need to reexamine the music rehearsal to encompass all aspects of learning while simultaneously maintaining high-level, culminating performances. Integrating writing and reading skills into the rehearsal room is a common sense approach to including Common Core Standards that can deepen music learning and lead to expressive performances.

Since the Common Core Standards have been adopted by a majority states, it is likely that most music teachers are being asked to integrate these standards into lesson and rehearsal plans. Here are a few quick tips to help you integrate the Common Core Standards into the music classroom in easy, common sense ways…

Research

One of the Anchor Standards for Writing [CCSS.ELA-LITERACY.CCRA.W.7] states that students should, “Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.” Music teachers can address this standard by asking students to answer focused questions about the music being prepared for the next concert. Students could compose the answers outside of class and submit them electronically (or in written form).

One alternative can be to integrate an “exit slip” strategy used by other disciplines. An exit slip is a written student response from a question posed by the teacher. This quick, informal assessment asks students to summarize a portion of the content learning from the class period in a few sentences as they depart from class. Sample writing prompts might include:

• Describe a musical phrase in your own words.
• Why do composer’s change keys in music?
• What percussion instruments are used in the piece?
• What is an anacrusis?
• How do the meters in the piece relate to one another?
• What is a canon?

The best writing prompts for exit slips directly relate to a musical topic from the rehearsal, but it is also possible to use more general questions to inspire student focus in rehearsal or to glean feedback from the students for planning the next rehearsal. More general writing prompts might include:[1]

• This piece of music shows…
• The best part is…
• It was hard for me to learn…
• A question I was curious about and want to learn the answer to is…
• What changes did you make today?
• Today we worked on…

Writing

Another Anchor Standard for Writing [CCSS.ELA-LITERACY.CCRA.W.10] states that students should, “Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.” Teachers can craft writing prompts that can be answered by the students in one sitting, or develop more complex questions that require extended time (perhaps a week or two).

• What is folk music?
• What is your favorite American folksong? Why?
• When does the composer use augmentation and inversion in this piece?
• What is a mode in music? How does modal music make you feel?
• How is a phrase used in poetry? How is it used in music?
• What is Ballad form? How is it used in this piece?

Reading

An Anchor Standard for Reading [CCSS.ELA-LITERACY.CCRA.R.1] states that students should, “Read closely to determine what the text says explicitly and to make logical inferences from it.” A second Reading Standard [CCSS.ELA-LITERACY.CCRA.R.10] states, “Read and comprehend complex literary and informational text independently and proficiently.” Another way to integrate Common Core Standards is to ask students to read an informational text related to the music a (or about the composer).

Music teachers can find a plethora of informational texts related to a study composition by using quick internet searches. Students may write a short response or summary about the readings – again, integrating writing standards into the curriculum. To focus student responses, teachers may provide additional writing prompts:

• Why did the composer write this composition?
• Who premiered the composition? When was it premiered?
• Does this music include a program? Describe the program in your own words.
• What style of music does this piece represent? What musical elements are included in this piece that are typical of the style?
• If you were visiting with the composer, what would you tell him/her about this music?

The ability to design student activities that reach musical goals using the Common Core State Standards is only limited by the instructor’s creativity (and investment of time).  Rehearsal time is a cherished resource in any music program. Music teachers may be worried about “adding more” to an already overflowing plate. However, it should be noted that most of the activities recommend in this article could be completed outside of the classroom or in short, in-class activities that require only a few minutes of time.

When music teachers adopt a common sense approach to integrating Common Core Standards they develop immediate, useful and practical applications that lead student musicians to an enlightened and expressive performance while simultaneously supporting the school’s learning community.

David Kish is director of bands and professor of music at Metropolitan State University in Denver, and was recently appointed conductor and musical director of the Colorado Wind Ensemble.

David has taught instrumental music at all educational levels. His writings have been published in The Instrumentalist Magazine, Journal of Band Research, Music Educators Journal, and four volumes of the popular resource texts, Teaching Music through Performance in Band. David recently authored Volume VI of his book series, Guides to Band Masterworks.

Dr. Kish earned the D.M.A. and M.M. degrees in Instrumental Conducting and Music Education from the University of North Carolina at Greensboro, and B.M. in Music Education from Susquehanna University in Selinsgrove, PA. He maintains an active schedule as guest conductor, clinician, and lecturer throughout the United States. 

[1] Adapted from Tools for Powerful Student Evaluation by Susan R. Farrell, Meredith Music Publication, 1997.

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