twocats 'm guessing Dr. Molly can sightread most of her stuff at performance level and only needs to do spaced practice for the trickier bits...
I had a broader thought that goes in this direction. Namely what she suggests must be personalized to where you are at yourself. Her own practising will be as a trained professional who has all the skills and is aiming at the piece(s) to be performed. If teaching at university level, the students probably have good foundations already. We may not be in that kind of position. You may be a beginner still learning basic things; or someone who learned on their own or was mistaught with problems to unravel. The goal may be to acquire skills, as well as learn to play a piece of music.
I looked at the Appendix A that is on-line which was linked. Mostly these are familiar things. I'm looking at chapter 1:
- Start with hard spots
- figure out why you are having trouble as precisely as you can
- Break the problem down into smaller, manageable parts.
- Solidify the solution using one of the methods below:
- Play it correctly at least fives times in a row.
- Overlearning: If it took you 10 tries to get it right, to at least 5 correct repetitions......
- Ask: "Which pathway am I reinforcing by how I'm practising?"
...........
Here's how that looked for me a couple of years ago. As a child I was self-taught and created habits. I have not worked with an in-person teacher, and my foot was not on-camera. My previous piano (DP) had a questionable pedal: you had to stomp all the way down for it to engage, and let it release almost to the top for it to disengage.
This created a host of habits that remained with a new, good piano, because I didn't know better. I put my body weight into the pedal foot, shifted something in the hips, and had no sensitivity to the pedal's response. I went to play a piece that needed pedal more than once per measure and I was in trouble. Fixing this was multistep. Being so uncoordinated, I started with Feldenkrais stand-sit from a chair in the room for balance: how to move the foot from the ankle. (2) Getting familiar with the pedal, at what point of descent does it engage - at what point does it disengage the sound. (3) Play two notes in a row legato using the pedal, with a minimum range of moving the pedal. There was no "at least 5 times in a row" - after 2, the old habit kicked in - until this solidified. There was "multiple sessions throughout the day" however.
I abandoned the piece during that period, and went back to it after the new habit was established. Everything I described goes within what Dr. G listed, but adjusted to where I was at personally.
As an idea of personalization of the ideas to where you're at.