Pebber is a great teacher.
I think what you want to practice are a bit of these three categories: 1) the mechanics of playing (right/left hand technique, posture, wrist angles, being relaxed as possible, etc); 2) ear training (which I neglected as a result held myself back); and 3) learning the language and vocabulary of music as it applies to the music you want to play.
1 just makes you able to play what you want to play.
2 connects what you want to play to what you're hearing most efficiently.
3 just matches what you're doing to what you want to do-- if you want to play jazz or 'jazzier' you need to see harmony/melody/phrasing in different way than you might get in college 1st or 2nd semester class looking at 4 part harmony with all the roots doubled. If you want to play like John Lee Hooker, studying Gershwin might not be the most efficient way to get into it. All roads lead to Rome, or maybe all steps rise to Parnasus, and Hal Galper said nothing you practice is wasted; but the end of day you probably want to turn what you're practicing into something you can use with the people you're playing with. I was lucky in that I used to practice some weird sounding stuff compared to the kids I played with when I was learning, but I was able fit it into the classic rock and blues we were playing. Some liked it, some hated it. Some still hate it.
But start taking apart the music you want to play and be sure to work on that in addition to technical stuff. I recently jammed with a guy who I guess had reasonable chops or mechanics but we're improvising and jamming but a single chord played in different inversions stopped him in his tracks. All he could play was The House of the Rising Sun, Stairway to Heaven, and the most cliche BS blues you'd play at the beginning of a Hal Lenard book, and a lot of Bach I think. He came in knowing we're supposed to be playing fully improvised music but he's ready for a cover band 13 year-olds in 1976 would start or a great solo recital for a classical teacher. But at the end of the day we had no use for each other. Just make sure in the midst of all the technical stuff and abstract patterns and solfeggio (if you do it), also prepare for the music you want to play. I think it is best to balance those 3 categories.