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The Practice Revolution: Getting great results from the six days between lessons, by Philip Johnston
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Inside the Practice Room: What works, what doesn't, what really happens, and how to fix it. Instead of the traditional obsession with how much practice students do, The Practice Revolution looks at how students practice in the first place. With over 320 pages of what works, what doesn't and why, it's the most ambitious, comprehensive and approachable guide to practicing ever undertaken, aiming to turn professional music teachers into nothing short of practice experts... ...so they can help their students become practice experts too.
Also by the same author: The Dynamic Studio (just released), Practiceopedia and Scales Bootcamp. Previews and more information at the author's website at insidemusicteaching.com.
- Sales Rank: #248739 in Books
- Brand: Brand: PracticeSpot Press
- Published on: 2006-03-27
- Released on: 2004-09-10
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .73" w x 6.00" l, 1.08 pounds
- Binding: Paperback
- 324 pages
- ISBN13: 9780958190503
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
Review
"...this book is perhaps in the top 1% of all the things I have ever recommended. Every sentence is new and important and this goes on for 321 pages...if teachers were to absorb the content there would, indeed, be a revolution in teaching and learning. Buy the book!" --Canadian Music Educator's Association journal
"...idea studded book on the whole practice process...when the student leaves, it should be with the practice skills to work alone. Johnston has generously outlined hundreds of ways to do that." --California Music Teacher Journal
"...first rate. After reading only half the book, I believe it had a positive impact on my teaching...Consider buying both the book and stock in the company!" --Horn Call - journal of the International French Horn Society
About the Author
Philip Johnston is one of music teaching's best-selling and best known writers, with his books on practicing and teaching being used by music studios of all instruments all over the world. For book previews and more information see his website at insidemusicteaching.com
Most helpful customer reviews
34 of 35 people found the following review helpful.
About changing the way your students practice -- effective
By Tobin Sparfeld
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.
128 of 132 people found the following review helpful.
Engaging and practical book, though not without drawbacks
By klavierspiel
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.
17 of 18 people found the following review helpful.
A Student's Opinion
By Carole Smith
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.
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