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Comment by valvar | Hacker News Reader

I'm thinking more along the lines of practicing different scales, arpeggios and pieces each time, and practicing several different things instead of repeatedly practicing a single thing. Unfortunately, though, as an amateur violinist, I can say that this approach is not all that feasible after a certain level. Varying your warm-ups like what scales, arpeggios and etudes you play might be a good idea, but in the end the only really effective way of mastering a piece is to play it over and over, mostly in small sections, until you get it right. If you just scim over it each time, you're probably going to let mistakes slip in and ferment. But maybe changing something less related to the actual activity more in line with what you suggested might also work - lowering and raising the music stand and piano stool or chair, changing instruments or location, etc.

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If you take the approach of mastering the instrument instead of a piece then scales, arpeggios, and other building blocks become critical. Almost like learning improv jazz violin, before taking on a classical piece

Mastering a musical instrument can be broken down into physical skills and aural skills. Exercises can be useful for physical skills, but aural skills can be practiced without them. Improvising is about being open to where you can go, and ear training of various kinds is going to be far more useful for that than practising the same group of exercises time and time again.

Scales is the key to improv in my experience

Scales are an important and necessary part, but I agree with ZenoArrow - developing aural skills is the key. It opens up so many possibilities. I haven't fully mastered those skills yet (still working on them), but learning just a little is like suddenly having a map while trying to find your way around a city. Before, you stumble around, stopping to ask for directions and taking wrong turns. After, you can plan what you want to do much more easily.

The key to musical improv (as opposed to experimental improv, which has its place) is meaning to play what you play, and you can only truly be free to do that when you know what the notes sound like before you play them.

For example, let's say you were learning guitar, a good exercise would be to look at a random note on the fretboard (for example, the 10th fret on the G string in standard tuning) and sing the note, then play the note and see how close you were. When you can do that reliably, that's a big step forward towards mastery IMO.

However, I would recommend starting with ear training for relative pitch rather than absolute pitch (which is what the exercise above is for). For that, you play a note, then sing a note a certain interval away from it (e.g. a minor third) then play the note which is a minor third away from the first note. I believe this is a great exercise to start with.

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