One of my biggest concerns as a piano teacher has always been this: what happens during practice at home? Building healthy practice habits from Lesson 1 is just as important as learning the notes themselves. I take great pride when students can explain how they practice, identify their own problems, and think about possible solutions. That awareness is part of true musical learning — and interestingly, it is also one of the most neglected topics in piano education. Students often do well during lessons because I am there to guide them but can they still work effectively when I am not?

For young beginners, this is naturally more challenging. They are still developing coordination, focus and independence, so they need a lot of support and guidance. More importantly, they first need to experience the joy of music-making. The “how to practice” will come gradually over time. Most students are also simply not ready to practice independently from Lesson 1, especially if there are coordination difficulties involved. In these situations, students cannot simply “fix” things on their own — they need patient guidance from the teacher to help rewire those connections correctly before they can confidently “drive on four wheels” by themselves.

Today, I simply want to share 3 very visual red flags to watch out for when you practice — or when your child practices. You do not need to know how to fix them because that is my job but noticing them and sharing feedback during lessons helps me guide students much more effectively.

The first habit to avoid is low wrists. Low wrists are often accompanied by what I call a “sticky thumb,” where the thumb tenses up and sticks underneath the keyboard instead of resting naturally on the keys. This is common among beginners. It is one of the most dangerous habits in piano playing because it creates tension, restricts movement, and over time can even contribute to tendonitis and pain. While beginners may not feel the effects immediately because they are not practicing for hours every day, the real danger is that this habit becomes muscle memory and is difficult to correct later. Very often, the cause is simple: the student is sitting too low at the piano. This is something parents can easily help monitor at home.

The second habit to avoid is what I call “hamster practice” — playing from beginning to end, over and over again, usually very fast. Most students, especially boys, love this “fast and furious” approach! They love the feelings of it. Sure, let them indulge in it sometimes is no harm. They need that boost of confidence as well to feel great at the piano! However if this becomes the habit of how the student practices, every day, then it is not recommended as it is not an effective way of practicing. Playing through has its place, but it should happen after careful work has already been done. Effective practice is much more scientific: working on small sections, solving difficult spots phrase by phrase, practicing the melody beautifully first before putting hands together, and most importantly — practicing slowly and steadily, without rushing. Our ears need time to digest sound, just as our bodies need time to digest food. When students slow down, the ears, nervous system, and physical sensations can finally connect properly. Fast and repetitive practice often builds mistakes instead of fixing them. Students who say "but I just got it yesterday, like almost perfect and today I can't!" This is a sign that students have not been practicing effectively. If you have worked with me long enough, you have probably heard me repeat “practice slowly” countless times. It sounds obvious, but it is surprisingly one of the hardest things for students to do consistently.

The third habit to avoid is flat fingers. Flat fingers often produce uneven tone because different parts of the finger make contact with the keys. Think of dropping balls of different sizes onto a surface — each one reacts differently and produces a different sound. The same principle applies to piano playing. Finger shape directly affects tone production, control, and clarity. Some may point out that great pianists like Vladimir Horowitz occasionally played with flat fingers, and yes, he sounded incredible — but students are not Horowitz. Technique should always serve both the ears and the comfort of the body. For beginners especially, flat fingers do not help develop the small muscles needed for strength, agility, and control. Good hand structure creates stability, clarity, and long-term freedom at the piano.

I hope this is helpful for both students and parents. Remember: showing up consistently to lessons is still the most important part of making progress because that is where most of the problem-solving and guidance happens. Only then can practice at home become truly effective. Consistency is the golden truth behind successful learning. It is great to get it right but the process does not stop there, repeat it, again and again until you feel solid and confident.