Here’s something I keep having to relearn:
When practice isn’t working, the answer is rarely “more hours.”
It’s usually less chaos.
I see this all the time in live sessions. Someone wants to fix timing, improve tone, understand the changes, clean up technique, and learn a song… all in one sitting.
That’s not ambition. That’s cognitive overload.
And the weird part is, overload feels productive. Lots of motion. Lots of effort.
But it doesn’t create traction. It creates fog.
So here’s my note to self:
Pick one loop. Pick one goal. Then stay there long enough for your brain to stop negotiating.
Not for an hour.
For 6 minutes.
Seriously.
Because once your attention stops bouncing, you start hearing the important stuff: the tiny timing drift, the inconsistent articulation, the tension in your right shoulder, the note that’s always late.
That’s where real progress lives.
Practice Spark (10 minutes total)
Choose one of these:
The 2-Bar Loop: Loop 2 bars of a groove. Goal = one thing only (clean attacks, even 8ths, consistent muting). Record 20 seconds at the end.
The One-Note Truth: Put the metronome on 2 & 4. Play one note as 8ths for 60 seconds. If it doesn’t feel good, don’t add notes. Fix the feel. Are you early? Late?
If you do this for a week, you’ll feel the difference. Not because you practiced more.
Because you practiced with a purpose.
2 Replies to “Stop Practicing More — Start Practicing Less (Less Chaos)”
I want to practice with a purpose. Currently, I’m plugging in and playing everything I know. Which is pointless because I’m not learning anything. I want to learn, get out of my comfort zone. And actually progress, adding to my skills and knowledge of music and my bass. How do I change my practicing? Thank you for your support.
Neil, great comment! Step by step and with a plan and starting small. I think a cohort (doing our courses with community) would also be a good way, it is so empowering to have support. Our next ones are starting up again in Fall. Maybe you can join us.
Oh, and one thing you can do – these pieces you know – analyze them: The theory used, the rhythms. Then, see if you can come up with a blueprint of what’s there and apply it over a different chord progression.