The Practice Plan That Actually Sticks

A simple 20, 40, or 60 minute routine

Hi there,

Some weeks are smooth. Others are a mix of rehearsals, juggling between different projects, admin, family, and surprises. On those weeks, a “proper” two‑hour practice can feel impossible, so we skip it. I’ve been there before and am going through it right now!

What helps me is a short, clear plan I can follow in 20, 40, or 60 minutes. No overthinking. Open the case and start. Below, I’ll explain exactly what to do at each length and why it matters, in plain language.

If you have 20 minutes

Warm up (about five minutes). Start with slow, even notes to wake up your hands and ears. Aim for a steady sound and relaxed breathing. Take one awkward shift or string crossing and fix it gently. This isn’t about speed; it’s about reminding your muscles how to move smoothly.

Groove (about ten minutes). Pick one short bar or riff and loop it. Your only job is to make it feel good. Adjust note length, where notes start and end, and how you place them against the click or a simple drum loop. Try sitting slightly behind the beat, then right on it, then slightly ahead. You’re learning where the pocket is and how to land there on purpose.

Quick notes (about five minutes). Write three short lines: what went well today (Win), what still needs work (Problem), and the very next small step you’ll take next time. These notes keep you honest and give tomorrow’s session a head start.

Even this short routine is enough to move you forward on a busy day.

If you have 40 minutes

Do everything in the 20‑minute plan, then add the following.

Tidy two bars (about ten minutes). Choose two specific trouble spots from a piece you’re working on, just a couple of bars, not the whole tune. Play them slowly and cleanly at roughly 70% of the final tempo, three times in a row without mistakes. Then raise the tempo a little to around 85–92% and repeat. This focused repair work is where real improvement happens. It will not happen immediately, but the next day you will see and feel the improvement.

Create for five (about five minutes). Finish with a small burst of creativity: improvise over a simple vamp or write a four‑bar idea. Record it on your phone. Don’t judge it. The goal is to keep your creative muscles switched on, not to produce a masterpiece.

If you have 60 minutes

Do everything in the 40‑minute plan, then add the following.

Technique (about ten minutes). Work on one left‑hand skill (like shifting accuracy or finger independence) and one right‑hand skill (like articulation, ghost‑note control, or a three‑finger pattern). Technique is just the mechanics that make everything else easier. Keep it tidy and relaxed.

Full run (about five minutes). Play one tune all the way through without stopping, even if you make mistakes. Treat it like a mini performance. When you finish, simply mark the bars that need attention tomorrow. This teaches you to keep going under pressure and to recover quickly when something slips.

Handy helpers (explained)

Tempo steps. Use a simple ladder: 70% → 80% → 92% → 100%. If something falls apart at a given step, drop back one, make it solid, and try again. This builds clean speed instead of messy habits.

Use a timer. Start a timer for each block. The timer removes negotiation and keeps you moving. When it beeps, switch tasks and carry your focus forward.

Short recordings. Capture twenty seconds of your groove or a tricky bar. Listening back once tells you more than guessing for ten minutes. Keep it short so recording doesn’t interrupt the flow.

For fellow bassists (what I mean in practice)

When I say “shape the note,” I mean pay attention to how long each note lasts and how it connects to the next one. Shorten or lengthen until the groove breathes. With ghost notes, play them so softly they almost disappear; this teaches touch and control. And with pocket, choose your placement—behind, on, or ahead of the beat—don’t drift into it. Deciding on purpose is what makes the line feel steady.

Why it works

You remove the constant “what should I do?” question. You see progress in writing because the three lines add up over time. Most of all, you keep showing up. Short, steady work beats rare, long sessions.

Not a musician? Pass it on

This same plan works for any skill. Think of the warm up as a simple way to get your brain started, the groove as your core repetition, tidying two bars as fixing a small piece of a bigger project, creating for five as a quick idea burst, technique as a short drill to improve the basics, the full run as a brief test under real conditions, and the three lines as a tiny reflection so you know exactly what to do next time.

Weekly challenge

Try the 20‑minute version today and send me your three lines: Win, Problem, Next step. I’ll share a few (anonymised) next week so we can learn from each other.

Stay consistent, stay curious, and keep it in the pocket.

Simon

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