Practice Junkie
Practicing is where you find out who you are.
Wondering about your Enneagram Type?
Read the descriptions below to get a general sense of the 9 types and 27 subtypes,
click HERE to take the Enneagram Compass Test or message Dr. Sánchez HERE
to get on her waiting list for a free in-depth typing session on Zoom.
The type and subtype descriptions below come from a synthesis of Dr. Sánchez's training with both The Enneagram Institute of Ohio and the Chestnut Paes Enneagram Academy, along with her decades of experience as a performer and teacher. Some of the names and themes included below are personal adaptations meant to complement more in depth Enneagram study. Click HERE for a list of Enneagram Resources for further study.
The 9 Types (and 27 Subtypes) of
The Enneagram for Musicians
TYPE ONE: THE PERFECTIONIST
Most Type Ones tend to be conscientious, discerning, and dedicated. The themes of right and wrong can be particularly noticeable in Type Ones, influencing how they experience themselves, other people, and their music-making. Their primary challenge in the practice room can often be focusing so strongly on what needs correction that mistakes and imperfections command more attention than what is already working.
Self-Preservation (SP) Ones tend to prepare diligently and work to prevent things from going wrong, often worrying about whether they have practiced enough or prepared thoroughly enough.
Sexual (SX) Ones are the countertype and may therefore appear less like typical Type Ones because they tend to direct their critical energy more outwardly, bringing intensity and strong convictions to their practicing and pushing energetically for change when something does not meet their standards.
Social Type Ones tend to develop clear ideas about the correct way to practice and perform and hold themselves and others responsible for living up to those standards.
The growth path toward more authentic music-making and personal satisfaction in the practice room for Type Ones could involve allowing curiosity to soften criticism, making room for spontaneity and pleasure, and recognizing that meaningful music-making does not require everything to be perfect or “right.”
TYPE TWO: THE CARER
Most Type Twos tend to be warm, supportive, and generous. The themes of needing to be needed and special can be particularly noticeable in Type Twos, influencing how they experience themselves, other people, and their music-making. Their primary challenge in the practice room can often be orienting so strongly toward being valued, needed, or appreciated by others that their own musical needs, priorities, and desires become harder to recognize and pursue.
Self-Preservation (SP) Twos are the countertype and may therefore appear less like typical Type Twos because they tend to seek care and attention more indirectly, while finding it easier to attend to immediate needs and relationships than to consistently prioritize their own development as musicians.
Sexual (SX) Twos tend to bring passion and emotional intensity to their music-making and may become especially motivated by creating a meaningful connection with particular people.
Social (SO) Twos tend to be ambitious, capable, and motivated to contribute, and may place significant importance on becoming musicians whose accomplishments and influence are valued by others.
The growth path toward more authentic music-making and personal satisfaction in the practice room for Type Twos could involve directing some of their natural care and attention toward themselves, discovering what they genuinely want from their practicing and music-making, and allowing their own musical development to matter even when no one else is asking for it.
TYPE THREE: THE ACHIEVER
Most Type Threes tend to be energetic, competent, and highly effective. The themes of image and doing can be particularly noticeable in Type Threes, influencing how they experience themselves, other people, and their music-making. Their primary challenge in the practice room can often be measuring successful practicing by achievement, productivity, or how their playing will be perceived, while losing touch with what they genuinely feel and want as musicians.
Self-Preservation (SP) Threes are the countertype and may therefore appear less like typical Type Threes because they tend to work hard, prepare thoroughly, and seek security through being effective and productive, often preferring to let their accomplishments speak for themselves rather than openly seeking recognition.
Sexual (SX) Threes tend to bring charisma and energy to their music-making and may focus strongly on being appealing to others or helping other musicians shine.
Social (SO) Threes tend to be ambitious and competitive, with a strong awareness of the accomplishments and recognition that signal success in the musical world.
The growth path toward more authentic music-making and personal satisfaction in the practice room for Type Threes could involve slowing down enough to notice what they actually feel and want, allowing mistakes and experimentation to have value even when they do not produce an immediate achievement, and discovering who they are as musicians beyond what they accomplish or how their playing appears to others.
TYPE FOUR: THE INDIVIDUAL
Most Type Fours tend to be creative, emotionally perceptive, and empathetic. The themes of expression and longing can be particularly noticeable in Type Fours, influencing how they experience themselves, other people, and their music-making. Their primary challenge in the practice room can often be focusing on what is missing, idealized, or seemingly available to other musicians, making it difficult to fully recognize and build upon what is already present in themselves and their playing.
Self-Preservation (SP) Fours are the countertype and may therefore appear less like typical Type Fours because they tend to channel feelings of lack into tenacity and effort, pushing themselves to work hard and endure difficulty without necessarily revealing how much they are struggling.
Sexual (SX) Fours tend to channel longing into competition, bringing intensity and passion to their practicing while comparing themselves with others and striving to be the best.
Social (SO) Fours tend to experience comparison more internally, readily noticing where other musicians seem to possess qualities they lack and becoming vulnerable to feelings of inadequacy or shame.
The growth path toward more authentic music-making and personal satisfaction in the practice room for Type Fours could involve balancing what is missing with what is already present, allowing feelings to provide valuable information without determining what happens next, and using consistent practice, structure, and action to transform their creativity and emotional depth into music rather than waiting to feel different, better, or more complete.
TYPE FIVE: THE INVESTIGATOR
Most Type Fives tend to be curious, perceptive, and insightful. The themes of knowledge and privacy can be particularly noticeable in Type Fives, influencing how they experience themselves, other people, and their music-making. Their primary challenge in the practice room can often be spending more time observing, analyzing, researching, or preparing than fully engaging in the physical and emotional experience of making music.
Self-Preservation (SP) Fives tend to create protected spaces where they can maintain independence, minimize demands on their time and energy, and preserve their privacy and personal resources.
Sexual (SX) Fives are the countertype and may therefore appear less like typical Type Fives because they tend to have rich and emotionally sensitive inner worlds that can fuel artistic creation, selectively revealing that depth when they feel sufficient trust and connection.
Social (SO) Fives tend to pursue expertise, high ideals, and deeper meaning through music, often connecting with other musicians through shared knowledge and interests more readily than through emotional disclosure.
The growth path toward more authentic music-making and personal satisfaction in the practice room for Type Fives could involve trusting that knowledge and preparation do not have to be complete before action begins, moving from observing music to physically and emotionally experiencing it, and discovering that engaging more fully with their instrument, their feelings, and other musicians can expand rather than deplete their inner resources.
TYPE SIX: THE TROUBLESHOOTER
Most Type Sixes tend to be responsible, perceptive, and resourceful. The themes of questions and vigilance can be particularly noticeable in Type Sixes, influencing how they experience themselves, other people, and their music-making. Their primary challenge in the practice room can often be self-doubt, overthinking, second-guessing, and becoming preoccupied with what might go wrong, sometimes making it difficult to trust their own musical judgment and move forward.
Self-Preservation (SP) Sixes tend to seek security through supportive relationships and trusted people, bringing warmth, loyalty, and cooperation to their lives while sometimes looking outside themselves for reassurance.
Sexual (SX) Sixes are the countertype and may therefore appear less like typical Type Sixes because they tend to move against fear through strength, skill, and readiness, often meeting musical challenges head-on and working to feel capable enough to handle whatever might happen.
Social (SO) Sixes tend to seek security through structure, rules, precision, and knowing what is expected, which can make them conscientious and efficient musicians while sometimes becoming overly reliant on external standards or authorities.
The growth path toward more authentic music-making and personal satisfaction in the practice room for Type Sixes could involve trusting their own inner authority, balancing questions with action and vigilance with faith in what is already working, and discovering that confidence grows through taking courageous musical steps without needing certainty first.
TYPE SEVEN: THE ENTHUSIAST
Most Type Sevens tend to be optimistic, imaginative, and enthusiastic. The themes of options and fun can be particularly noticeable in Type Sevens, influencing how they experience themselves, other people, and their music-making. Their primary challenge in the practice room can often be staying with repetition, limitation, discomfort, or the less exciting parts of practicing, leading them to jump between ideas or possibilities rather than exploring one thing deeply.
Self-Preservation (SP) Sevens tend to be pragmatic and resourceful, readily finding people, tools, opportunities, and creative strategies that can help them get what they need from their musical lives.
Sexual (SX) Sevens tend to bring idealism, imagination, and excitement to the practice room, readily envisioning inspiring possibilities while sometimes becoming more captivated by what could be than by the musical reality in front of them.
Social (SO) Sevens are the countertype and may therefore appear less like typical Type Sevens because they tend to channel their enthusiasm toward high ideals and contributing to others, sometimes sacrificing their own desires in an effort to be responsible, helpful, or good.
The growth path toward more authentic music-making and personal satisfaction in the practice room for Type Sevens could involve discovering that fun and possibility do not disappear when they choose one path, slowing down enough to stay present with both pleasure and discomfort, and finding deeper satisfaction by sticking with an idea, challenge, or musical experience long enough to discover everything it has to offer.
TYPE EIGHT: THE POWERHOUSE
Most Type Eights tend to be strong, decisive, and energetic. The themes of control and strength can be particularly noticeable in Type Eights, influencing how they experience themselves, other people, and their music-making. Their primary challenge in the practice room can often be pushing harder when a softer, slower, or more thoughtful approach would actually be more effective, particularly when confronting limitations or vulnerability.
Self-Preservation (SP) Eights tend to bring toughness, resourcefulness, and a strong drive to get what they need, with particular intolerance for obstacles or frustration.
Sexual (SX) Eights tend to bring especially intense, charismatic energy, with a strong desire to influence the environment and make their presence felt.
Social (SO) Eights are the countertype and may therefore appear less like typical Type Eights because they tend to channel their strength toward protecting and supporting others, using their power in the service of people they care about.
The growth path toward more authentic music-making and personal satisfaction in the practice room for Type Eights could involve discovering that strength does not always require more force, slowing down enough to think and feel before acting, respecting physical and musical limits, and allowing sensitivity, vulnerability, and receptivity to become part of their power rather than something they need to push past.
TYPE NINE: THE PEACEMAKER
Most Type Nines tend to be receptive, supportive, and easygoing. The themes of comfort and busyness can be particularly noticeable in Type Nines, influencing how they experience themselves, other people, and their music-making. Their primary challenge in the practice room can often be losing touch with their own priorities, allowing familiar routines, distractions, or less important tasks to take the place of what they genuinely want and need to accomplish.
Self-Preservation (SP) Nines tend to find comfort in familiar routines and pleasurable activities, which can make it easy to remain with what feels comfortable rather than addressing what most needs attention.
Sexual (SX) Nines tend to merge with important people in their musical lives, sometimes adopting a teacher’s, colleague’s, or ensemble’s priorities so completely that they lose touch with their own musical preferences and direction.
Social (SO) Nines are the countertype and may therefore appear less like typical Type Nines because they tend to be sociable, hardworking, and highly engaged, readily giving their time and energy to ensembles, organizations, students, and other musicians while becoming so busy participating that their own priorities can disappear.
The growth path toward more authentic music-making and personal satisfaction in the practice room for Type Nines could involve waking up to their own musical desires, recognizing that their priorities deserve their attention, and taking right action by choosing what matters most and actively moving it forward rather than staying comfortably busy.