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Although several lines of research (e.g., deliberate practice, mental practice, modeling, self-regulation) have begun to show links between general practicing approaches and achievement, relatively little is known about which specific behaviors are most effective in eliciting performance gains. Information regarding which behaviors are beneficial to school-age musicians is especially needed, given their often limited formal training and the scarcity of studies with this population. The purpose of this study was to examine relationships among observed practice behaviors, self-reported practice habits, and the performance achievement of high school wind players.

In general, the results of this study have shown that the quality of practicing that takes place may be more crucial to improvement than the quantity of time spent playing.

The results also have practical implications for music educators. Although the findings cannot be considered causal, the correlations between performance achievement and the behaviors repeat section, slowing, whole-part-whole, and skipping directly to or just before critical musical sections of the étude indicate that these may be particularly useful strategies for making improvement.

It may be that those who were more accustomed to practicing with specific musical or technical goals in mind were able to practice more effectively during the study

This suggests that teachers should guide students toward practicing with musical and/or technical goals in mind.

This could be done by assigning specific musical passages to students or by asking students to practice applying specific musical concepts (dynamic contrasts, vibrato, expressive tempo manipulation, etc.) to various pieces when working alone.

This suggests students may need to be trained to distinguish between efficient and inefficient practicing.

For example, teachers could demonstrate characteristics of inefficient practicing, such as repetition of errors and physical and/or mental fatigue, and warn students to guard against them. Conversely, teachers could also highlight characteristics of efficient practice, such as focusing on problematic passages and taking appropriate amounts of rest.

Teachers must think on their feet, modify plans on the spot, approach content from different angles, support uniqueness, and inspire and foster growth.

Think of teaching standards through the arts, not independently of the arts

Holding onto misconceptions might prevent you from unlocking your students' creativity, originality and spark for learning

Start with a standard or concept you need to address. Ask yourself the following questions, and jot down all ideas you can. Your creative brainstorming will take your students beyond worksheets and unlock your creativity as a teacher and your students' enjoyment of the learning process.

It is also important for students to practice with a model and without a model. I give them a model about 50 percent of the time. In the very beginning, when it’s only three or four notes, the rhythm is not usually a problem

Thumbs up means “I got it, let’s go.” Thumbs sideways means “Almost, I need another pass.” Thumbs down means “I’m lost!”  

Audiation is the musical voice inside your head, something like your musical imagination

Professional brass players use rebreather bags, incentive spirometers, and other tools to create an air model and to increase lung capacity

Children are used to taking conversational breaths; we need to teach them to breathe like musicians

For the inspiration I recommend using a breathing tube – basically a ½ to ¾-inch piece of PVC coupling

I use “sizzling” and “long tones.” Sizzling is great because you have the students create a natural resistance that simulates what it is like playing the horn

Long tones are very important to the development of a good sound