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Wondering how long and how often everyone practices their particular instrument? I try for 30 to 60 minutes a day, concentrating on pieces I’m currently learning and playing things I really enjoy. I probably should devote more time to scales and appeggios etc. I like to change things up so I don’t get bored and if I don’t really like something I find it’s best to leave it for someone else to enjoy.

One of the biggest breakthroughs in music comes when we realise we don’t always hear what is actually happening. We hear what we expect to hear. A wrong note appears and the mind instantly says, “I’m hopeless.” A teacher offers feedback and the mind says, “I’m being judged.” But is that what really happened? Or is it simply an old story being replayed? Music has taught me that every practice session is an opportunity to listen with fresh ears. Instead of asking, “How did I mess that up?” Try asking: “What am I actually hearing?” That small shift changes everything. When we become curious instead of certain, we stop reacting to the stories in our mind and start responding to the music itself. The more we practise listening without judgment, the more clearly we hear—not just our music, but ourselves. 🎵 Reflection: During your next practice session, notice how quickly your mind labels what you’re playing. Then gently ask yourself: “Am I hearing what’s actually there, or am I hearing an old story?” You might be surprised by the answer.

Have you ever noticed how quickly the mind creates a story? You play one wrong note and, before the sound has even faded, the mind says: “I’m terrible.” “I always do this.” “Everyone’s better than me.” The note lasted a fraction of a second. The story can last all day. One of the greatest lessons music continues to teach me is that not every thought deserves to be believed. The mind is always commenting, comparing, judging and predicting. It assumes every thought it produces must be important. But what if most of those thoughts are simply old habits repeating themselves? The Easy Key has taught me something beautiful. A note is simply a note. It has a relationship to the notes around it, but it doesn’t carry shame, success, failure or embarrassment. We add those meanings. Something I often say is: Every thought is a command unless we question it. Notice what happens after a mistake. Does your face immediately tighten? Do your shoulders tense? Does your body obey the thought before you’ve even had a chance to choose? Music gives us an opportunity to interrupt that automatic reaction. The next time a discouraging thought appears while you’re practising, don’t fight it. Simply notice it. Then ask yourself: “Is this thought actually true, or is it just another old habit passing through?” You don’t have to force yourself to think positively. You only need to stop assuming every thought deserves your attention. As you practise this, something begins to soften. The commentary becomes quieter. The body relaxes. Your attention returns to the music instead of the story. Perhaps that’s where real learning begins—not when the mind finally becomes silent, but when you realise you no longer have to follow every thought it produces. Music really is medicine.