BEST PRACTICE(S) FROM SPARK PRACTICE

Best Practice(s) | Peter Slowik

Best Practices from Spark Practice brings you a fast-moving, insightful conversation recorded live at the International Viola Congress. Professor Peter Slowik shares with the Practice Professor Sarah Niblack how to build a deep, clear, “ringy” sound; why performance starts in the practice room; how to train attuned intonation beyond the tuner; rhythmic thinking from micro to macro; and how to tie it all together with body awareness and self-talk. You’ll learn practical games like “electric plug,” “Pick Four,” “connect the dots,” subdivision strategies, and creative “bonus training” so your preparation holds up under pressure.

Best Practice(s) with Peter Slowik

THE SPARK

Big Ideas & Quotes of Note

These are the "big nuggets" - the quotes and big ideas that stuck with me and made it onto post-it notes on the mirror.

Sound is Paramount; Without it, Performance is Uninteresting

Sound is paramount; without it, performance is uninteresting." Peter emphasizes that sound is the "bling," the "transfer" that captivates an audience. He breaks down sound into two key components:

  • Vowels: Naturally produced, beautiful sounds that engage large muscle groups. Think of the resonance and richness that comes from a relaxed, open body.
  • Consonants: The articulation and clarity that involve smaller muscle groups in the lips, teeth, and tongue.

Practicing sound, according to Peter, means engaging your largest muscles, including the diaphragm. The ideal viola sound? "Deep, clear, and ringy" – a sound that is great, round, rich, and cozy. This is our "real voice", like a statue that we discover from a block of marble.

Strength without Roughness, Flexibility without Weakness

Part of finding our voice is about bring "bendy". Being "bendy" refers to flexibility in the body, airspace, and strings. It's a strength when it comes from a place of fitness and skill, becoming a superpower. This aligns with Tartini's motto: "strength without roughness, flexibility without weakness." (This also makes me think of Bruce Lee's motto to "be like water.")

Bonus Training is an Essential Part of Practice

Bonus Training is when we practice beyond the minimum requirements on the page - but create for ourselves more space and cognitive ease by exaggerating tempi, colors, performance skills, dynamics, and more - to build in a little wiggle room.

THE RESEARCH

What Science Says about Bonus Training

Why Bonus Training Works (Practicing Beyond Minimum Necessary Capacity)

In musical performance and motor skill acquisition, bonus training (often associated with overlearning, variable practice, or training beyond immediate performance indications) refers to deliberately practicing material under constraints that exceed the minimum demands of the repertoire or performance situation to intentionally build flexibility and extra capacity for real-time choices - essentially building in a buffer to protect from in-the-moment-under-stress overload.

Benefits of Bonus Training (the Nerdy Neuroscience)

Snippits from the research that thrills me about this Big Idea! Yes I'm a nerd 🤓 Also, I had a little help with research suggestions, well-formatted citations, and keeping me from completely going down a rabbit hole from an AI tool - but I went through to read everything, check that it was all from reputable, legit, peer-reviewed sources. If you have issues, disagreements, want to suggest or call a study into question, I welcome your thoughts HERE. Enjoy!

Make More Space in your Brain

Builds "Technical Headroom" and Cognitive Reserve: When a musician practices only at the required tempo, correct pitches, and dynamic level, 100% of their cognitive and physical capacity is dedicated simply to executing the notes. By training beyond the required tempo (faster than performance speed) or dynamic extremes (softer or louder than marked), musicians build reserve capacity Stambaugh, L. A. (2012). Differential effects of cognitive load on university wind students’ practice. Psychology of Music, 41(6), 749–763.


Encourages Neuromuscular and Motor Generalization: Instead of training a rigid, fragile muscle memory that only functions under narrow, idealized conditions, practicing beyond the minimum threshold creates flexible motor schemas that can execute the required movements under varying physical states. Elite Musicians: More Than a Physical Training    | RIDE Revista Iberoamericana para la Investigación y el Desarrollo Educativo  . (n.d.). Retrieved November 4, 2026, from https://www.ride.org.mx/index.php/RIDE/article/view/879/3162

Stay Awesome under Stress & with Less MPA (Musician's Performance Anxiety)

Mediating Performance Outcomes: Attentional control, alongside self-efficacy, serves as a crucial sequential mediator that buffers the adverse effects of music performance anxiety (MPA) on instrumental performance.

Preventing Attentional Capture: Training beyond baseline performance limits insulates attentional capacity, preventing task-irrelevant worries, negative metacognitions, and somatic anxiety from hijacking the attentional resources required for real-time motor execution  Sun, Y., & Zhou, Z. (2026). Stage anxiety and piano performance: the sequential mediating roles of self-efficacy and attentional control. Frontiers in Psychology, 17. https://doi.org/10.3389/fpsyg.2026.1895260

Building More Room & Anti-Fragility: Robustness Over Simple Repeatability: Standard practice often only fosters repeatability under identical, familiar conditions. Bonus training develops a specialized capacity known as Musical Adaptation Reserve (MAR) Practice should account for surprises and variations in real performance environments with MAR (musical adaptation reserve) (a fancy way to say bonus training) that "allow a performer to preserve pre-specified higher-order musical functions by recalibrating perception, action, attention, expression, and affect when performance conditions depart from those anticipated in preparation."Yu, R., & Xu, M. (2026). Practicing for the unexpected: a framework for musical adaptation reserve in expert musicians. Frontiers in Psychology, 17. https://doi.org/10.3389/fpsyg.2026.1970635

Mindful Behavioral Commitment: Pushing through variable, non-standard practice tasks builds psychological flexibility, helping performers accept unpredictable sensations and maintain technical execution without performance breakdown. And - Training past comfortable capacity helps musicians maintain focused attention despite fluctuating stress or performance anxiety (MPA). Viator, T. L., Levy, J. J., & Murphy, B. A. (2024). Exploring the Relations among Psychological Flexibility, Music Performance Anxiety, and Perceived Performance Quality with University Music Students. Music & Science, 7. https://doi.org/10.1177/20592043241268665

Things can go Terribly Wrong but the Autopilot Still Works

Proceduralization and Prepotent Responses: Extended practice and overlearning solidify musical skills into proceduralized, prepotent responses that execute automatically. Shielding Against "Choking" Overlearning and bonus practice ensure that motor sequences remain fully automated, reducing latency, eliminating errors, and allowing the stress response to potentiate rather than derail execution

Frontiers | A review of music performance anxiety in the lens of stress models. (n.d.). Retrieved November 4, 2026, from https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2025.1576391/full

Lightning Fast Task Switching, Get Less Tired & Recover Faster

Cognitive Flexibility : Training under varied constraints (e.g., contextual interference through varying tempo and dynamics) directly recruits and exercises cognitive flexibility Tahmasebi Boroujeni, S., Biglari, M., & Mohagheghi, M. (2024). The Effect of Contextual Interference on the Acquisition and Learning of Motor Skill with an Emphasis on Cognitive Flexibility. Journal of Motor Control and Learning, 6(3). https://doi.org/10.5812/jmcl-150567


Minimize "Switch Costs" & Maintaining Fluidity: Musical training sharpens the executive mechanisms governing goal switching, reducing switch costs and repetition costs when adjusting between distinct motor or cognitive demands Gade, M., & Schlemmer, K. (2021). Music Modulates Cognitive Flexibility? An Investigation of the Benefits of Musical Training on Markers of Cognitive Flexibility. Brain Sciences, 11(4), 451. https://doi.org/10.3390/brainsci11040451 And as musicians - Musical performance frequently demands real-time shifts—such as sudden changes in tempo, clefs, dynamics, or expressive articulation. When individuals switch between tasks or mental modes, they typically encounter "switch costs" (slower processing and increased error-proneness). High cognitive flexibility reduces these switch costs, allowing a performer under acute stress to transition seamlessly between diverse motor, visual, and expressive demands without losing pulse, precision, or continuity. KU.edoc: Music and Cognitive Flexibility: a case of limited transfer? . (n.d.). Retrieved November 4, 2026, from https://edoc.ku.de/id/eprint/35600/


Strengthening Executive Networks: Instrumental music practice operates as an intensive motor-cognitive training paradigm that systematically enhances core executive functions—primarily cognitive flexibility, working memory, and inhibitory control Greco, G., Desantis, D., Cataldi, S., & Fischetti, F. (2026). Musical Instrument Practice as Sensorimotor and Motor–Cognitive Skill Training in Healthy Aging. Brain Sciences, 16(10), 1038. https://doi.org/10.3390/brainsci16101038

NOTE: I found a few independent articles about error recovery & shifting focus away from mistakes (like the one linked here), but it looks like this would be a good opportunity for more research.

Bonus-Training is Brain BodyBuilding

Strengthening Dendritic Connectivity & Successful Cognitive Aging: Intensive, intellectually challenging motor pursuits stimulate positive neuroplasticity—strengthening dendritic arborization and optimizing neural pathway efficiency (Basically - doing hard things makes your brain physically stronger) Vance, D. E., Roberson, A. J., McGuinness, T. M., & Fazeli, P. L. (2010). How Neuroplasticity and Cognitive Reserve: Protect Cognitive Functioning. Journal of Psychosocial Nursing and Mental Health Services, 48(4), 23–30. https://doi.org/10.3928/02793695-20100302-01


Cognitive Reserve: Demanding training paradigms build cognitive reserve, which refers to the brain’s ability to draw upon resilient neural networks and alternative pathways to compensate for fatigue, high stress, or age-related decline. Motor–Cognitive Scaffolding: Under frameworks like the SMART COMPASS model, challenging motor practice acts as scaffolding that bridges neuroplasticity, psychological agency (self-efficacy), and robust motor execution across the lifespan. There's a "dynamic relationship between structural and functional brain processes, cognitive mechanisms, and motor learning, as well as the role of compensation and enhancement through intervention and motivation in shaping neural and cognitive performance, ultimately impacting motor behavior." Klotzbier, T. J., & Schott, N. (2025). Scaffolding theory of maturation, cognition, motor performance, and motor skill acquisition: a revised and comprehensive framework for understanding motor–cognitive interactions across the lifespan. Frontiers in Human Neuroscience, 19. https://doi.org/10.3389/fnhum.2025.1631958


Optimized Bandwidth through Specialized Neural Architecture: Meta-analyses show that musicians possess distinct functional neural architectures and co-activation networks specifically optimized for working memory manipulation. "Musicians exhibited hyperactivations in the right medial frontal gyrus and hypoactivations across the right middle occipital gyrus, the right precentral gyrus, the left inferior parietal lobule, the right claustrum, and the left cerebellum during working memory tasks." ( whooooaaa!!!) Wolff, L., Quan, Y., Thompson, W. F., & Baumann, O. (2026). Functional Neural Architecture of Working Memory in Musicians: An ALE (activation likelihood estimation) Meta‐Analysis and Review. WIREs Cognitive Science, 17(3). https://doi.org/10.1002/wcs.70036

Generalized Benefits (Being a Musician Makes you Badass)

Brain and Cognitive Reserve: Musicianship stimulates neuroplastic adaptations that expand brain and cognitive reserve, providing a protective buffer against mental fatigue, cognitive decline, and external stressors 

Resting-state functional connectivity in lifelong musicians. Resting-State Network Reorganization: Lifelong musicians display altered resting-state functional connectivity across motor control and higher-order networks (such as sensorimotor networks and the default mode network) Eierud, C., Michael, A., Banks, D., & Andrews, E. (2023). Resting-state functional connectivity in lifelong musicians. Psychoradiology, 3. https://doi.org/10.1093/psyrad/kkad003


Generalization of Musical Sophistication: The extensive cognitive demands of advanced musicianship explain significant variances in broader cognitive performance, demonstrating that intensive training transfers into generalized cognitive robustness. Porflitt, F., & Rosas, R. (2020). Musical sophistication explains a good deal of cognitive performance. A cross-sectional study of musicians and non-musicians. Resonancias: Revista de Investigación Musical, 24(47), 147–167. https://doi.org/10.7764/res.2020.47.9

How you know it's working

Sometimes it's really helpful to have examples of progress, or the effects of these concepts in our daily lives and practice rooms - so here are some of my favorite clues that you're putting this Big Idea into action!

What used to be super scary or hard now feels easier

It almost feels like there's more time and space to do things - and I think of this Mario Andretti commercial a LOT - the feeling of the guy who was supposed to "sign a waiver" is how I feel every time I play something hard the first time. And eventually, with bonus training, I get closer to the calm, lucid, curious, beautiful control like Andretti. (Well, as close as a violist with 40 less years in their field can get.) Also, shoutout to Aurélien Pétillot who found the ad I was thinking of!

You have choices instead of panic

The biggest evidence of this in my own practice was with the Don Juan excerpt. At first, everything was as fast as I could possibly play, trying to cram in as much information as possible, all while completely freaking out. Then after I had strategically bonus-trained, I started to rush certain parts and lose the groove - until I finally realized that I had built the technical capacity to play the notes/intentions/dynamics - and that I could make choices about pacing/bow distribution/phrasing. To feel like you have space to do what you actually want to do is a little scary at first because we have to uncouple panic from what we're doing - but afterward it's incredible to actually craft and express all the SPARK elements with something that used to just cause panic attacks.

Even if it all goes wrong, your autopilot is still *pretty* convincing

Because you've built your capacities past necessary minimums and have bonus trained your choices into fully-integrated, blocked and automated information, even if you show up on stage as a zombie you'll still play pretty well.

So this might be a little controversial, but I both 1/ Don't ever want you to be in a position that you have to rely on autopilot; and 2/ Your integrated baseline that you would revert towards on autopilot is still solidly awesome. So how does Bonus Training impact both of those things? it's what you put into the Bonus Training that will help make this difference and insulate you from full panic/autopilot. In SPARK Practice, that means training mindset, artistic, and performance skills into your reflexes as well as technical proficiency. Each element of music (Sound / Performance / Attuned Intonation / Rhythm / Kinesthetics) is fully integrated and bonus trained, so you're fully supported - even under stressful conditions and on stage.

The Big Idea / TLDR

Bonus training - including deliberately practicing passages across diverse tempi & harmonic, performance, and dynamic ranges - trains musicians well beyond the nominal demands of the sheet music. It creates reserve cognitive flexibility and technical capacity, prevents physical tension, and decouples individual elements - essentially expanding the palette of musical choices, even under pressure.


Ultimately, this strategic preparation ensures that performers are not locked into a single rigid routine; instead, they become agile and adaptable, fully prepared to respond to live concert conditions, varying hall acoustics, conductor choices, and equipment variations.

And when you also strategically bonus train your Artistic intentions and Performance / mindset skills, that extra space and confidence holds more than just Technical proficiency - so all of your music-making can confidently and powerfully show up on stage.

THE PRACTICE

Put this Signature Practice Plan into Action

Here's the Signature SPARK Practice Plan with expert strategies suggested in the podcast - try it in your practice today!

Peter Slowik's Signature SPARK Practice Plan

SOUND /

Electric Plug 🔌

Trace energy from left foot to right shoulder into the bow, then back through the left hand—play a sustained note and notice the change in depth.

PERFORMANCE /

Pick a Spot

Stay connected to body and emotions; simulate stage conditions with cold starts and instant recall.

ATTUNED INTONATION /

Pick Four

Assign one of four finger patterns to each string (e.g., 3–1–2–4) and cycle them to cover every diatonic hand frame.

Bonus / Detune Drill

Shift one string up or down, then play a familiar passage—can your hand land reliably without the ear’s usual cues?

RHYTHM /

Subdivision Ninja

Choose the smallest rhythm unit and fill long notes internally, aligning bow changes and color to where time “sticks.”

KINESTHETICS /

Connect the Dots

Secure target notes first, then link them—reduce failures from “practicing forward.”

SPARK Practice Timer

THE RESEARCH

Further Reading & Resources

PETER SLOWIK

Profiled by the Strad magazine as “a man of limitless energy and purpose – he mentors high achievers who make their mark in top positions the world over,” Peter Slowik is one of the world’s most sought-after artist-teachers of viola. He has been a featured performer and teacher at seven International Viola Congresses, and has recorded on the Deutsche Grammophon, deutsche harmonia mundi/BMG, American Grammophone, Erato and Cedille labels.


Mr. Slowik is Robert W. Wheeler Professor of Viola at Oberlin Conservatory. Past teaching posts include Northwestern University, Indiana University, the Cleveland Institute of Music, and the Eastman School of Music. He has been named to the highest teaching awards at both Oberlin (Teaching Excellence Award 2009) and Northwestern, (the McCormick Professorship for Teaching Excellence 1999). In 2002 Mr. Slowik was the recipient of the Maurice Riley Viola Award from the American Viola Society for “outstanding teaching, scholarship, and performance.”


His viola students have won first prize in numerous competitions, and Slowik students may be found in virtually every significant professional orchestra in the US (many serving in titled positions) and in university appointments throughout the country.

LINKS

  • (Bio from the American Viola Society website: https://www.americanviolasociety.org/team/peter-slowik/)
  • Wikipedia https://en.wikipedia.org/wiki/Peter_Slowik
  • Faculty Profile Video https://www.youtube.com/watch?v=c6tlyZS92eE


At SPARK Practice, we bring neuroscience, elite sports psychology & strategy, top musical training, & mindfulness together to revolutionize the conversation around practicing & performing. www.sparkpractice.com


#SparkPractice, #Viola, #InternationalViolaCongress, #StringPedagogy, #SoundProduction, #AttunedIntonation, #RhythmPractice, #KineticIntegration, #PracticeStrategies, #WaltonConcerto, #OrchestralAuditions, #Subdivision, #HandFrames, #BowControl, #MusicPerformance

See you in The Practice Room!

Looking forward -

Sarah ⚡️❤️

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