SMART Goal Builder

SMART Goals for Music Students and Educators

The SMART framework — Specific, Measurable, Achievable, Relevant, and Time-bound — can support musical growth when it is used thoughtfully. It works best for practice habits, technical skills, sight-reading fluency, repertoire preparation, and ensemble consistency: areas where a specific target and a review schedule genuinely help.

It works less well as the sole frame for musical development. Tone quality, expression, phrasing, ensemble communication, and interpretive judgment are not reducible to a checklist score. A SMART goal can remove technical obstacles and build reliable habits. It cannot replace the listening, reflection, and artistic conversation that are central to musical learning. The examples in this guide reflect that distinction throughout.

Related guides: SMART goal examples for students and SMART goal examples for teachers cover broader academic and professional applications.

Build Your Own SMART Goal

Written by

Bill Stevens

Professional music educator and educational leader with more than 20 years of experience helping students set goals, evaluate progress, and adjust their plans.

Reviewed and updated: August 4, 2026

Applying the SMART Framework to Music

Specific

Names the exact skill, piece, or habit — not "play better" but "reduce stopping points in the first movement to zero by week four."

Measurable

Uses a practice log, recording comparison, tally, rubric score, tempo reading, or teacher check-in — not a general impression of improvement.

Achievable

Fits within the student's actual weekly schedule, instrument stage, and available support. Practice targets are grounded in a realistic session count, not an ideal one.

Relevant

Connected to a genuine musical priority — an upcoming performance, a skill gap the teacher identified, or a habit the student wants to build.

Time-bound

Anchored to a performance date, a term end, a number of weeks, or a regular review schedule — not open-ended.

Vague Music Goals vs. SMART Music Goals

The difference is a specific action, a defined measure, and a deadline.

Vague

I want to practice more.

SMART

For the next six weeks, I will complete a minimum of five 30-minute focused practice sessions each week, logging each session with the date, repertoire or skill worked on, and one observation about what improved.

Vague

I want to get better at sight-reading.

SMART

Over the next eight weeks, I will sight-read one new piece or exercise each practice day, recording my initial accuracy rate using a simple tally of correct notes and rhythms, with a target of improving average first-read accuracy from approximately 60% to 80%.

Vague

I want to play in tune.

SMART

During the next four weeks of individual practice, I will record one short passage per week using my device, listen back with a tuning reference, and identify at least one specific pitch tendency per session to address the following day.

Vague

I want to prepare better for concerts.

SMART

In the six weeks before the winter concert, I will perform my assigned repertoire from memory for a family member or peer at least once per week, log the date and any feedback received, and address the most-noted issue in the following practice session.

Detailed SMART Goal Examples for Music

Each example includes a starting baseline, the complete SMART goal, a measurement method, a feasibility check, milestones, and a review schedule. These are illustrations to adapt — not guarantees of outcome.

Practice Consistency

Vague goal

I want to practice every day.

Why it's incomplete

It does not state a session length, a target number of days per week, or how consistency will be tracked.

Starting baseline

Student currently practices on approximately two to three days per week for unplanned durations.

SMART goal

For the next six weeks, I will complete five focused practice sessions per week, each lasting at least 25 minutes, and log each session in a dated practice journal noting what was worked on and one observation about progress.

Measurement method
A dated practice journal reviewed weekly; total sessions per week compared against the five-session target.
Feasibility check
Five sessions per week at 25 minutes each requires approximately two hours and five minutes of weekly practice time — realistic within a typical student schedule if sessions are planned in advance.
Milestones
  • Week 2: four or more sessions completed with journal entries.
  • Week 4: five sessions completed in at least two of the four weeks.
Review schedule
Review the practice journal each Sunday to plan the following week and identify any sessions that were skipped and why.
Deadline
6 weeks from the start date.

Note Identification on the Staff

Vague goal

I want to get better at reading music.

Why it's incomplete

It does not specify a clef, a range of notes, a measurable accuracy target, or a way to test progress.

Starting baseline

Student can identify approximately 60% of notes on the treble staff within the first ledger line above and below.

SMART goal

Over the next four weeks, I will complete one five-minute note-identification drill at the start of each practice session using flashcards or an app, targeting 90% accuracy across all treble-staff notes within the first ledger line.

Measurement method
Accuracy percentage recorded after each drill session, tracked in the practice log.
Feasibility check
Five-minute drills at the start of an existing practice session add no scheduling burden. Flashcards or free apps are widely available. Four weeks of daily drills provides approximately 20 to 25 sessions.
Milestones
  • Week 1: baseline accuracy rate recorded on day one.
  • Week 3: accuracy above 80% on most drill sessions.
Review schedule
Review drill accuracy at the end of each week and note which notes are still causing errors.
Deadline
4 weeks from the start date.

Rhythmic Accuracy

Vague goal

I want to play rhythms correctly.

Why it's incomplete

It does not name a specific rhythmic pattern, a piece, or a way to measure accuracy.

Starting baseline

Student can clap simple quarter and half note patterns accurately but consistently rushes or misreads syncopated rhythms and dotted patterns.

SMART goal

Over the next five weeks, I will isolate one rhythmic challenge per week from my current repertoire, clap and count aloud with a metronome daily, record myself once per week, and compare the recording against the notated rhythm to check accuracy.

Measurement method
A weekly self-assessment noting whether the targeted rhythm was performed accurately in the recording and in the piece during the next run-through.
Feasibility check
Rhythmic isolation practice for one pattern per week requires five to ten minutes per session. Recording is free on most devices. Five weeks covers at least five distinct rhythmic challenges.
Milestones
  • Week 2: first two targeted rhythms performed accurately in a recording.
  • Week 4: targeted rhythms performed accurately in context without stopping.
Review schedule
Listen to weekly recordings with a teacher or parent and compare against the score.
Deadline
5 weeks from the start date.

Tone Quality

Vague goal

I want a better sound.

Why it's incomplete

"Better sound" names no specific aspect of tone — air support, embouchure, bow placement, or resonance — and no way to evaluate whether the sound has improved.

Starting baseline

Student produces a consistent tone on mid-range pitches but loses tone quality on higher notes and when playing softly.

SMART goal

Over the next six weeks, I will include five minutes of long-tone or sustained-note exercises at the start of each practice session, record one long-tone sequence weekly, and evaluate each recording against a three-point self-assessment checklist: steady pitch, consistent air/breath support, and absence of unwanted tension in the sound.

Measurement method
Weekly recordings rated on a three-point checklist; checklist scores tracked in the practice log.
Feasibility check
Long-tone exercises are a standard warm-up that fits into any existing practice routine. Recording takes no additional preparation. A three-point checklist is simple enough to complete in under two minutes.
Milestones
  • Week 2: weekly recording shows all three checklist criteria met on mid-range pitches.
  • Week 5: checklist criteria met consistently on at least two dynamic levels.
Review schedule
Share one recording per week with a teacher for feedback on the checklist criteria.
Deadline
6 weeks from the start date.

Intonation

Vague goal

I want to play more in tune.

Why it's incomplete

It does not name a specific pitch tendency, a strategy for correction, or a way to track improvement.

Starting baseline

Teacher observation notes that student consistently plays flat on upper-register notes and sharp when increasing volume.

SMART goal

For the next five weeks, I will tune before each practice session, record one short passage weekly using a tuner or pitch-display app, and note whether my identified pitch tendencies — flat on upper-register notes and sharp when increasing volume — are improving, staying the same, or worsening.

Measurement method
A weekly written note in the practice log comparing the recording to the tuner display and tracking the two identified tendencies.
Feasibility check
A clip-on tuner or free tuner app is all that is needed. Recording one short passage per week adds approximately three to five minutes to practice. Five weeks provides enough time to establish and reinforce corrective habits.
Milestones
  • Week 2: both tendencies identified and documented in the first two recordings.
  • Week 4: at least one tendency shows consistent improvement in the recording log.
Review schedule
Review the recording log with a teacher every two weeks.
Deadline
5 weeks from the start date.

Scales and Technical Exercises

Vague goal

I want to know my scales.

Why it's incomplete

It does not specify which scales, a tempo target, accuracy criteria, or a method for testing fluency.

Starting baseline

Student can play major scales up to two sharps and two flats at a slow tempo with occasional hesitation on the fingering pattern.

SMART goal

Over the next eight weeks, I will add one new major scale per week to daily warm-up practice, targeting the ability to play each scale hands-together (for piano) or in one octave (for wind/strings) at a minimum of 80 BPM with no fingering hesitations, confirmed by a teacher check-in at week four and week eight.

Measurement method
A teacher check-in at weeks four and eight; student self-assessment of hesitation-free fluency during practice.
Feasibility check
Adding one scale per week during a five-minute warm-up is realistic. Eight weeks covers eight new scale keys. Tempo targets are checked with a metronome already in use.
Milestones
  • Week 4: four scales playable at target tempo with teacher confirmation.
  • Week 7: seven scales playable at target tempo in daily warm-up.
Review schedule
Run through all scales learned to date at the start of each week to confirm retention.
Deadline
8 weeks from the start date.

Sight-Reading

Vague goal

I want to sight-read better.

Why it's incomplete

It does not name a starting level, a frequency of practice, or a measurable accuracy or fluency target.

Starting baseline

Student can sight-read Grade 1 exercises with approximately 65% rhythmic and pitch accuracy on a first read.

SMART goal

For the next eight weeks, I will sight-read one new Grade 1 or Grade 2 exercise at the start of each practice session, record my first-read accuracy using a simple slash-mark tally of errors, and aim to reduce average errors per line from approximately four to two by week eight.

Measurement method
A tally of errors per exercise recorded after each session, averaged weekly.
Feasibility check
One sight-reading exercise takes two to four minutes at the start of practice. A tally takes under a minute. Eight weeks of daily practice provides 35 to 40 data points for tracking a trend.
Milestones
  • Week 3: average errors per line below 3.5.
  • Week 6: average errors per line below 2.5.
Review schedule
Review the weekly average with a teacher every two weeks and adjust grade level if exercises are consistently error-free.
Deadline
8 weeks from the start date.

Repertoire Preparation

Vague goal

I want to learn my piece.

Why it's incomplete

It does not define "learned," specify a deadline, or describe a standard the performance must meet.

Starting baseline

Student has learned the notes for the assigned piece but plays through it with four to six stopping points per run-through.

SMART goal

In the four weeks before the performance date, I will practice my assigned piece in sections, target zero stopping points in a full run-through by week three, and perform the piece from memory for one listener before the performance date.

Measurement method
A self-assessed run-through count of stopping points tracked weekly; confirmed by one performance for a listener before the deadline.
Feasibility check
Section-based practice and a weekly full run-through fit within existing session time. Performing for one listener requires scheduling a 10-minute informal session at some point before the deadline.
Milestones
  • Week 2: stopping points reduced to two or fewer per run-through.
  • Week 3: zero stopping points in a full run-through.
Review schedule
Run through the piece at the end of every practice session and note the number of stopping points.
Deadline
4 weeks — performance date.

Audition Preparation

Vague goal

I want to do well at auditions.

Why it's incomplete

It does not name a specific audition, the required repertoire, a practice schedule, or a measurable readiness standard.

Starting baseline

Student has the required repertoire in progress but has not yet performed it in a simulated high-pressure setting.

SMART goal

In the eight weeks before the all-district audition, I will complete the required etude and scales to performance standard by week five and conduct at least three mock auditions — each performed for at least one listener with feedback — before the audition date.

Measurement method
Three documented mock auditions with listener feedback noted; teacher evaluation of etude and scales at week five.
Feasibility check
Three mock auditions over eight weeks is achievable with a teacher, parent, or peer as the audience. Week-five teacher evaluation gives enough time to address feedback before the audition.
Milestones
  • Week 5: etude and scales confirmed at performance standard by teacher.
  • Week 7: three mock auditions completed with feedback logged.
Review schedule
Review mock audition feedback with the teacher after each session and identify one focus area for the next mock.
Deadline
8 weeks — audition date.

Ensemble Listening and Balance

Vague goal

I want to listen better in the ensemble.

Why it's incomplete

It does not define what listening involves, what a student is meant to hear, or how improvement will be confirmed.

Starting baseline

Director observation notes that student section tends to play at a consistent volume regardless of whether they hold a melody or supporting harmony role.

SMART goal

Over the next four weeks of rehearsal, I will identify whether I am playing melody, harmony, or bass line at the start of each new section and adjust my dynamic level accordingly — forte for melody, mezzo-piano for harmony — and ask the director for brief feedback on ensemble balance at the end of each rehearsal.

Measurement method
Director feedback at the end of each rehearsal on whether the section adjusted balance appropriately, logged in a practice notebook after each session.
Feasibility check
Identifying your role in a texture takes seconds with prior preparation. A brief director check-in at the end of a rehearsal requires asking one question. Four weeks gives enough time to build the habit across multiple pieces.
Milestones
  • Week 2: role identification practiced in at least two pieces; director notes an improvement in one.
  • Week 4: director confirms consistent balance adjustment across rehearsed repertoire.
Review schedule
Review the feedback log weekly and identify which repertoire or texture type is still causing balance issues.
Deadline
4 weeks (end of current rehearsal cycle).

Instrument Care and Maintenance

Vague goal

I want to take better care of my instrument.

Why it's incomplete

It does not list specific care tasks, a frequency, or a way to confirm they are being done consistently.

Starting baseline

Student currently swabs the instrument after playing but inconsistently oils valves, cleans the mouthpiece, and stores the instrument correctly.

SMART goal

For the next six weeks, I will complete a four-item instrument care checklist after every practice session: swab or wipe down, oil valves or rosin bow, clean mouthpiece or reed, and confirm case is latched. I will check off each item in my practice log.

Measurement method
A four-item checklist logged after each session; reviewed weekly for consistency.
Feasibility check
The checklist takes under two minutes per session. All required tools should be stored with the instrument. Six weeks is enough time to establish the routine as a habit.
Milestones
  • Week 2: checklist completed after at least four of five weekly sessions.
  • Week 4: all four items checked consistently with no prompting.
Review schedule
Review the checklist log weekly and flag any item that was skipped more than once in the week.
Deadline
6 weeks from the start date.

Composition

Vague goal

I want to write my own music.

Why it's incomplete

It does not name a form, length, instrumentation, completion standard, or deadline.

Starting baseline

Student has written short melodic fragments but has not completed a piece with a beginning, middle, and ending.

SMART goal

Over the next eight weeks, I will compose an original 16-bar melody for my instrument in a chosen key signature, completing a four-bar phrase each week, and sharing the draft with my teacher at weeks four and eight for feedback.

Measurement method
Four bars completed per week, documented as a written or notated draft; teacher feedback received at week four and eight.
Feasibility check
Four bars per week is a modest target that allows for revision without time pressure. Sharing at weeks four and eight ensures feedback arrives at the midpoint and end, when it is most useful.
Milestones
  • Week 4: first eight bars completed and teacher feedback received.
  • Week 7: 16 bars in draft form; revision in progress.
Review schedule
Review and revise the draft after each teacher feedback session before continuing.
Deadline
8 weeks from the start date.

Improvisation

Vague goal

I want to learn to improvise.

Why it's incomplete

It does not specify a scale, style, context, length, or way to assess growth.

Starting baseline

Student understands the pentatonic scale in one key but freezes when asked to improvise more than two bars.

SMART goal

Over the next six weeks, I will practice improvising one-minute solos using the G major pentatonic scale over a backing track for at least four sessions per week, record one improvisation per week, and identify one specific improvement in each recording compared to the previous week.

Measurement method
Weekly recordings with a written note comparing the current week to the previous on one chosen criterion — range, rhythm variety, or phrase length.
Feasibility check
One-minute improvisations over a free backing track take two to three minutes per session. Recording and comparing takes five minutes per week. Six weeks provides enough practice to build and notice real change.
Milestones
  • Week 2: recordings show consistent use of at least four pentatonic scale degrees.
  • Week 5: recordings show clear rhythmic variety across a one-minute solo.
Review schedule
Share one recording per fortnight with a teacher or experienced player for feedback.
Deadline
6 weeks from the start date.

Music Technology

Vague goal

I want to use music software more.

Why it's incomplete

It does not name a specific tool, task, skill, or a way to evaluate whether learning has occurred.

Starting baseline

Student can open and play back files in the school notation software but has not entered notation from scratch.

SMART goal

Over the next five weeks, I will complete one notation-entry project per week using the school-approved software, entering at least eight bars of a melody with correct note values, rests, and bar lines, and save each completed project file for teacher review.

Measurement method
Five completed project files submitted for teacher review; each file checked for correct note values, rests, and bar lines.
Feasibility check
Eight bars of notation entry per week takes approximately 20 to 30 minutes with basic software familiarity. The school-approved software is already available. Five projects across five weeks is a measured, achievable pace.
Milestones
  • Week 2: two project files completed and reviewed.
  • Week 4: four project files completed with no missing rests or bar lines.
Review schedule
Submit each completed file to the teacher before the following week begins.
Deadline
5 weeks from the start date.

Concert Preparation (Teacher Goal)

Vague goal

I want the ensemble to be ready for the concert.

Why it's incomplete

It does not define readiness, name measurable performance criteria, or describe a preparation timeline.

Starting baseline

Eight weeks before the concert, all pieces are in progress but none have been performed from beginning to end without stopping.

SMART goal

In the eight weeks before the winter concert, I will use a five-criteria performance rubric — tone, intonation, rhythmic accuracy, balance, and expression — to assess each piece at weeks two, five, and eight, targeting all pieces scoring at least three out of five on every criterion by week eight.

Measurement method
Rubric scores recorded at three assessment points on a shared spreadsheet; section scores discussed in rehearsal after each assessment.
Feasibility check
Rubric assessments can be conducted during full run-throughs already scheduled in the rehearsal plan. Three data points across eight weeks is a manageable rhythm.
Milestones
  • Week 2: baseline rubric scores recorded for all pieces.
  • Week 5: all pieces at score 3 or above on at least three of five criteria.
Review schedule
Share rubric scores with the ensemble after weeks two and five and adjust rehearsal focus toward the lowest-scoring criteria.
Deadline
Week eight — concert date.

Rehearsal Planning (Teacher Goal)

Vague goal

I want to run more efficient rehearsals.

Why it's incomplete

It does not define efficiency, describe a planning method, or explain how improvement will be measured.

Starting baseline

Current rehearsals follow a consistent run-through format but lack time-specific goals for each piece; stopping points arise but are not tracked.

SMART goal

For the next six weeks, I will write a timed rehearsal plan before each session identifying the specific goal for each piece — measure range, target criterion, and allotted minutes — and record how many goals were fully addressed at the end of each rehearsal.

Measurement method
A tally comparing rehearsal goals planned against goals addressed per session; reviewed weekly.
Feasibility check
Writing a timed plan takes approximately 10 minutes before each rehearsal. Tracking goal completion takes two minutes after. Six weeks gives enough time to refine the planning format before extending it.
Milestones
  • Week 2: timed plan written for every rehearsal; 80% of planned goals addressed.
  • Week 5: 90% of planned goals addressed consistently.
Review schedule
Review goal-completion tallies every two weeks and identify which piece or criterion most often runs over time.
Deadline
6 weeks from the start date.

Using Evidence in Music Goals

The quality of a music goal depends on the evidence plan. Evidence that is difficult to collect, poorly matched to the goal, or gathered inconsistently produces unreliable conclusions.

1

Recordings

A short recording made on any device provides objective, repeatable evidence of tone, intonation, rhythm, and phrasing. Listening to a recording a day after making it often reveals more than listening during practice. Recordings are most useful when compared against a specific criterion — not used as a general self-judgment tool.

2

Performance rubrics

A rubric with three to five criteria (tone, intonation, rhythm, balance, expression) applied consistently at multiple points in a goal period shows change over time. Rubrics are only useful if the criteria are defined clearly enough that two listeners would apply them the same way.

3

Practice logs

A dated log with a brief note about what was worked on and one observation about progress — not a time-only record — builds a picture of what is being practiced and in what ratio. A log with only session durations tells you how long a student sat with the instrument, not what changed.

4

Playing assessments

A short teacher-administered playing check at a fixed point in the goal period — two to three minutes, one piece or exercise — confirms whether progress observed in practice is transferring to performance. Scheduled at weeks three and six, for example, they provide mid-goal feedback without requiring a formal performance.

5

Reflection notes

A one- to two-sentence written reflection after practice — "I played the transition at measure 12 three times and the third time was steady" — builds metacognitive awareness and is honest evidence of effort. Reflection notes should describe what happened, not just how the student felt about it.

6

Teacher feedback

Verbal or written feedback from a teacher at scheduled intervals confirms whether the student's self-assessment matches an experienced listener's observation. Teacher feedback is most useful as evidence when it is specific ("the G in measure 8 is consistently flat"), not evaluative ("this sounds much better").

Adjusting a Music Goal When Circumstances Change

Schedules, health, performance calendars, and repertoire all change during a goal period. A well-designed goal can be revised without being abandoned.

Scenario

A student's schedule changes and fewer practice sessions are possible.

Recommended action

Reduce the weekly session target rather than abandoning the goal entirely. Document the change in the practice log and adjust the milestone timeline accordingly.

Scenario

A physical issue — hand pain, embouchure fatigue — arises.

Recommended action

Pause practice for the duration advised by the relevant medical or pedagogical professional. Do not push through physical discomfort. Resume the goal at the point where the pause occurred, adjusting the deadline as needed.

Scenario

The target turns out to be unrealistic for the timeframe.

Recommended action

Revise the target or extend the deadline. Document the original target and the reason for the change. A revised goal with honest data is more useful than an abandoned one.

Scenario

The strategy is not working.

Recommended action

Consult a teacher before changing the approach significantly. Identify one adjustment, apply it for two weeks, then re-evaluate before making another change.

Scenario

A performance or audition is added to the schedule.

Recommended action

Note the new performance in the practice plan. If it conflicts with the current goal timeline, prioritize the performance and resume the goal afterward with the updated context noted.

Avoiding Unhealthy or Unrealistic Practice Expectations

Practice goals should support sustainable musical growth, not create pressure or physical risk.

  • Focus on the quality of attention in a session, not only the duration. A 20-minute session with clear focus is more valuable than a 90-minute session without it.
  • Rest is part of practice. Scheduling breaks between sessions and taking at least one full day off per week supports motor learning and prevents fatigue.
  • Do not set daily duration targets so high that a missed day feels like failure. A missed day is data, not a judgment.
  • Avoid comparing practice logs or progress rates to other students. Musical development is individual and non-linear.
  • Physical discomfort during practice — pain, tension, numbness — is a signal to stop and seek guidance, not a benchmark of dedication.
  • Progress on a measurable criterion (scale tempo, sight-reading accuracy) is evidence of one dimension of growth. It does not measure musicianship, taste, expression, or the value of what is being made.

Distinguishing Practice Activities from Musical Outcomes

A practice activity is what a student does in a session. A musical outcome is what changes as a result. A goal that names only an activity — "I will practice scales daily" — is a habit goal. A goal that names an outcome — "I will play four scales fluently at 80 BPM" — is a result goal. Both are valid, but mixing them up leads to goals that cannot be evaluated.

Practice activityMusical outcome
Completing 30 scale repetitions at 80 BPM.Scales played fluently at tempo in a performance without hesitation.
Recording and reviewing one passage daily.Intonation tendency corrected in performance.
Sight-reading one new exercise per session.First-read accuracy on Grade 2 material above 80%.
Marking difficult measures and isolating them in practice.Zero stopping points in a full run-through by a target date.
Listening to three recordings of the same piece by different performers.Expanded interpretive range expressed in the student's own performance.

Keeping Artistic Judgment Involved

Measurable goals are useful for identifying and addressing specific technical or practice habits. They are not designed to capture everything that matters in music. Tone quality can be described in checklist terms, but the character of a sound — warmth, urgency, stillness — is a matter of artistic judgment that does not reduce to a score. Expression, phrasing, interpretation, and the way a performer communicates with an audience are developed through listening, reflection, discussion, and experience. A SMART goal can support the conditions for that development; it cannot replace it. Use goals to remove technical obstacles and build reliable habits. Keep artistic judgment — yours and your teacher's — involved at every stage.

Music Goal Planning Template

Use this template on paper or in a document before entering your goal into the builder.

My original musical intention:
The specific skill or habit I am targeting:
My starting baseline (current level, tempo, accuracy, etc.):
How I will measure progress:
My target value:
Why this goal is achievable given my current schedule:
Why this goal matters for my musical development:
My deadline:
My first milestone:
My second milestone:
My review schedule:
Who will provide feedback (teacher, recording, self-assessment):
What I will do if the plan needs to be adjusted:
Create This Goal in the SMART Goal Builder

Common Music SMART Goal Mistakes

  • Setting a goal without a baseline, making it impossible to measure actual change.
  • Using "play better" or "sound more musical" as a measurable target.
  • Setting session-duration targets so high that a missed day derails motivation.
  • Measuring only time spent practicing without tracking what was worked on.
  • Choosing a target that depends on performance outcomes outside the student's control.
  • Failing to include a review point, so problems are not caught until the deadline.
  • Reducing all musical value to a number and ignoring artistic judgment.
  • Setting multiple goals at once without enough time to address each one consistently.
  • Ignoring physical discomfort in pursuit of a practice target.
  • Writing a goal and then not looking at it again until the deadline.

Related Resources

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For educators

SMART Goal Examples for Teachers

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Browse the central hub of SMART goal examples for students, teachers, music education, personal growth, and professional development — with guidance on choosing and adapting the right example for your situation.

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Frequently Asked Questions

About the Author

Bill Stevens

Professional music educator and educational leader with more than 20 years of experience helping students set goals, evaluate progress, and adjust their plans.

Learn more about Bill Stevens

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