The Better Way to Practise (That Your Brain Will Resist)

Why Practising the Same Way Every Time is Holding Your Students Back

As music teachers, we often praise consistency in practice. But what if how our students practise consistently is actually getting in the way of their progress?

At a workshop with pedagogue and researcher Dr. Barbara Fast at the 2023 UCSI Piano Pedagogy Conference, one powerful message stood out: our brains thrive on challenge and variation. The traditional method of repeating one skill over and over—known as blocked practice—feels productive, but doesn't actually build long-term learning. Instead, techniques like interleaved practice may hold the key to deeper, more lasting progress.

The Illusion of Progress

Blocked practice is what most of us grew up doing:

• Play the scale 10 times.

• Work through one section of the piece repeatedly.

• Don’t move on until it “feels better.”

And it does feel better—right away. We see improvements during the session, which reinforces the idea that repetition equals results.

But there’s a catch: this improvement is often temporary. The next day, much of that progress is gone. Why? Because the brain hasn’t had to work very hard. And when it comes to learning, easy doesn’t equal effective.

Enter Interleaved Practice

Interleaved practice breaks up that repetition by rotating between different tasks in a single practice session. Instead of doing:

1. Scale 2. Bach 3. Clementi

…three times in a row, students cycle through:

1. Scale 2. Bach 3. Clementi 1. Scale 2. Bach 3. Clementi

This forces the brain to re-engage with each task every time it returns to it. It feels more challenging (and a bit unnatural), but that’s exactly why it works.

Why It Works (Even When It Feels Like It Doesn’t)

In studies comparing blocked vs. interleaved practice, the blocked group always performed better at the end of the same-day session. But days later, the interleaved group consistently outperformed them.

This happens because:

• Switching tasks creates “reset points” for the brain.

• These resets improve memory encoding.

• The effort required makes the learning stickier over time.

What This Means for Music Teachers

1. Plan Rotation, Not Repetition

Help students break their practice into segments that rotate between:

• Technique (e.g., scales, arpeggios)

• Repertoire (multiple pieces or sections)

• Memorisation or sight-reading

2. Start Small

Don’t overhaul everything. Pick one part of their practice that’s becoming a slog (technical exercises are a great place to start) and introduce rotation.

3. Use It in Lessons Too

Don’t feel the need to “finish” a section before moving on. Circle back. Return to a problem spot later in the lesson. That spaced re-engagement boosts retention.

4. Explain the Why

Students (and parents) might question why things “feel harder.” Let them know: that feeling is actually a sign the brain is doing the hard work of real learning.

Sample Practice Session Using Interleaved Practice

0:00–5:00 Scale (C Major, hands together)

5:00–10:00 Bach: Learn RH bars 8–12

10:00–15:00 Clementi: Memorise LH opening

15:00–20:00 Return to Scale, new articulation

20:00–25:00 Bach: Revisit RH with added dynamics

25:00–30:00 Clementi: Hands together, slow tempo

Same 30-minute session—just a different order. And a much more effective outcome.

Final Thought

Blocked practice is comforting. It makes students feel accomplished in the moment. But if we want real progress that holds up over time—and under pressure—we need to teach practice habits that challenge the brain.

Interleaved practice takes a bit more planning and a bit more patience. But the payoff? Confident, prepared, and adaptable musicians.