The Practice Revolution [Paperback]

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.

A colleague loaned me this book - though I was unsure what exactly to expect, I think any music teacher would find this immensely helpful.

Johnston's main concept is designed to help alleviate the problem - students who HATE practicing. Most teachers simply look for a specific amount of time which students should practice. This tends to lead to students practicing inefficiently and viewing practice as an inescapable chore.

Instead of this pattern, Johnston proposes a paradigm shift: assign practice based on specific assignments and goals which must be accomplished during the week. The student can then be excited about completing objectives, and will also seek to practice as efficiently as possible in order to SAVE time.

Johnston then provides many specific exercises and tactics in order to learning a new piece, memorizing pieces, building speed, fixing tricky sections, and preparing for performances.

From some of Johnston's tricks and games, it seems this book is more geared towards younger adolescent students, but many ideas can be applied to students of all ages. Also, many of these techniques seem to be focused towards piano teachers specifically, though other instrumental teachers can also find helpful information here. Johnston also mentions his website and other optional materials which may be of benefit.

I enjoyed reading the book, and found its general approach to be fantastic. A great resource for piano teachers.

This is simply the best book ever written on the techniques of effective practice for musicians. Unlike many other books in the genre, Philip Johnston writes from his extensive experience as a teacher. He delivers very SPECIFIC techniques related to practice strategies. Every performer who is interested in improving his/her art and craft can learn from this book. The chapters are detailed. Every page gives important, indispensable tips. I've integrated Johnston's work into my own teaching and my own practice and I will recommend this to every musician who is interested in improving or helping others improve.

Get this book you will be glad you did.