more than 3 hours Omg!!!!?

Question

i just looked up some questions people asked about being a piano virtouso, and some people said u have to practice like 3-5 hours a day. How in the world is that possible?!!!!! and if it were possible, would i be able to divide up those hours? or do i have to do it 5 HOURS STRAIGHT?

Answer 1

Some geniuses don't have to practice that may hours a day, in fact Jacqueline du Pre the famous cello player was shocked when she went to Russia and learned that it was required of her to study at least six hours a day, she didn't need to do that, she did study, but didn't need to study as much as most of us do, it's like the music is already inside of them, how else do some eight - twelve year old kids become great vertousos at such and early age, it amazies me. Some students all that's enough for them is to think the music, but most people aren't that lucky, she could be handed a concerto, and in a day or two have it down pat , and memorized also, this was when she was thirteen years old. But believe me most of us are not like that. I did look into how many hours a day most virtuoso's study a day and I was surprised, a lot of them don't seem to require it, it's enough just to think about the music. Now when I was in my third year of guitar I would set my alarm for three and four in the morning, study for two hours, and do the same after dinner, and them before I went to bed, a total of six hours a day, I was one of those people that had to work very hard at it. Five hours straight is a bit ridiculous, I think that time should be split up, otherwise your hands and fingers will feel like there going to fall off, most virtuoso's don't need to be told how much to study, they already know what they need.

Answer 2

Well, piano virtuosos who practice that much a day truly love what they do, so they most likely don't mind spending that much time on the piano bench. There are tons of people even in one city that practice for a couple hours a day; even I set aside about 3 hours a day during the summer for the piano. There are some who have amazing talent that can play extremely well with only a couple hours (I heard the world-famous violinist Sarah Chang only practices 3 hrs daily), yet there are others that are so incredibly dedicated and love what they do that they practice as much as 10 hours a day. Of course, young pianists who practice for a couple hours a day are often prodded by their parents to do so. There's an 11-year old that I know that practices 4 hrs daily, but he wouldn't do so if his mother wasn't a piano teacher. Older musicians tend to have the self-motivation to practice as much as they do, without the involvement of another. Well, I highly doubt that these incredible musicians practice all this in one sitting. They most likely practice some in the morning, some in the afternoon, and some at night. At least that's what I do. The once-called piano prodigy Ruth Slenczynska, who practiced for about 8-9 hours a day, said that she took walks in between her practicing to collect her mind.

Answer 3

Only, if you want to become a piano virtuoso. Yes, grueling work and enjoying the piano, the times goes by quickly.

You can divide the time, but I practiced for a 1 and 1/2 hours a day and I don't play well. Soo...I think three hours is accurate.

Answer 4

I'm doing Grade 6 piano and I've got a performance coming up. I have to practice about 3-4 hours per day. Five hours straight would damage your hands and you'll know that a hand injury is the worst thing for a pianist! Break up the hours, as long as you cover your material, get the hours done and make sure your hands get adequate rest, you'll be fine. After playing, rub your hands a bit to stop them aching and do finger exercises or scaled first, to warm up hands and reduce the risk of RSI (Repetitive Strain Injury). Good luck!

Answer 5

Keep in mind that this is what these people do for a living. I know of some professional pianists who practice 8 hours a day.

Usually they do it in multiple sessions, at various times in the day. Endurance is an issue. I myself have practiced for 3 to 4 hours straight, and I'm not even a professional. Just trying to get the job done. The larger your repertoire and the more difficult, the longer it takes to keep it in shape. And of course there's always the challenge of learning new pieces.

All in a day's work!

Answer 6

Yeah - I was the one who asked if I could undertake it at age 44. There's no way I could find that kind of time with my schedule. Since I don't know your age, I can say that if you are young and have the time, go for it - some people need to practice for hours, but I hear others say that fifteen minutes a day adds up. I guess, gathering from what I'm seeing as far as answers too, that if you want it bad enough, you can get it.

Answer 7

I'm pretty sure that you can divide up the hours and i don't think you have to practice for five hours, i thinks its less, more like 2-3. It all depends on your schedule and the time you have available on your hands. If you really want to do this your going to have to stick with it.

Answer 8

It may seem a great deal of time but when you look at it from our side of the fence, it soon dwindles into barely enough. (3-5 hours a day is what I call maintenance mode, when you are keeping your engine purring, but not embarking on any form of major overhaul or fine tuning.)

In any one season, you have to maintain at least three full recital programmes, more often than not half a dozen. That's 3-6 times 2½ hours actual sound runtime of works to keep in mint condition at all times, as they can be called on quite unexpectedly. Alongside that, each season requires at least a dozen concertos 'on active service'. Averaged out, that's another 8 hours of continuous runtime of sound to maintain. Then next season's programmes have to be designed and compiled and the repertoire for those to be laid down 'in primer', and likewise next season's concertos to be selected and put into drydock for overhaul and maintenance, if they're existing repertoire, or learned from scratch in the case of new works.

Say on any given day you need to work on one major concerto and one major solo work, each near-as-dammit having a runtime of an hour, and were you to start by running both works through in their entirety, there's barely an hour out of three left to actually *work* on elements of each or either work.

What therefore tends to happen, is that the day gets segmented into a number of working blocks: say, three hours in the morning for the concerto, twice two hours in the afternoon for solo repertoire work and a single 2-3 hour block in the evening for new repertoire, off-keyboard study and research, and so forth. Ten hours in all. Seven days a week. And this routine can still leave you sorely pressed for time on occasion.

Before, in between and after these blocks, you go about daily life, taking the dogs out, housework etc., just like anyone else. But those blocks are sacrosanct and nobody disturbs me during them unless absolutely necessary, of course. Obviously, if you're making particularly important headway with something in the morning, three hours may turn into four, and the rest of the day gets bent around that fact: it's not that an alarm goes off: "Number 9, your time's up!" fashion. :-)

But that's an average working day, every day -- which, when you come to think about it is only 2 hours longer than anyone else's average working day. It's just a profession like any other...

Answer 9

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Answer 10

You could do it in spurts throughout your day. I think it's only possible if that's what you really want to do with your life. You would think of it as your job and do it because that's what it takes.