Use the music: After you have the piece memorized, you must periodically go back and read the score carefully. I suggest playing slowly without pedal and using the metronome for the most dramatic results.
Practice slowly: Fast practice is like moving in quicksand. You dig yourself into the ground by reinforcing mistakes instead of identifying and eradicating them as you do in slow practice. Slow practice is like putting newsprint under a microscope. You see all the imperfections. This enables you to refine your playing by identifying rough edges.
Practice without the pedal: While the pedal makes everything sound better, when practicing, you can not only hear more critically without the pedal, but you will also be able to quickly hear fingering problems before they become ingrained.
Use the metronome: Even in music that has fluidity with the tempo will benefit from metronome practice. You need a reference of time to know how much you are bending the phrase with rubato. Also, when learning difficult passages, it is usual to slow down. Over time you may even overcompensate for difficult passages rushing them. Difficult passages can be mastered by increasing the metronome a notch or 2 at a time to speed up particularly difficult passages.
Take very small sections at a time: It is tempting to try to learn large chunks to save time. The problem is that it becomes overwhelming. If you take tiny sections at a time and master them, you will be able to sustain a productive practice much longer.
Practice in chords when possible: Not only does reducing the music to chords help to clarify the structure, it also helps to figure out the best fingering.
Always put corrections into context: Fixing a mistake isn’t enough. After you have mastered a correction, go back and connect the phrase to the preceding phrase. Then go back to the beginning of the section and connect, or you will find your old mistake recurring.
Practicing should be like a fine meal, served in courses: If you divide your practice into different sections of activities, you will be productive longer. First you may do some memorization. Then you can work on refining previously learned material. Then perhaps scales and arpeggios, and then perhaps some sight-reading. Doing any one skill for too long takes much greater mental effort and you may not work at optimum level.
Use the 80/20 rule: If you focus the majority of your time on the few places that are weak, you will get much better results than practicing equally on all sections of your music.
Be keenly aware of how you feel: It is essential to be relaxed, sitting comfortably at the right distance from the keyboard and at the right height to avoid injury. Also, you should take periodic breaks to stretch or at least take a short walk to keep your body limber. Be aware of any lingering pain and take appropriate steps to avoid injury.
