
Emma.
I was struggling away in a yoga class the other day when I looked over at my sister Emma as she (try to visualize this.) balanced on her left hand with her left leg over her shoulder and her right leg levitating off the mat behind her. All of her body weight was balanced on her hand. I was in awe. How was she doing that? The answer: she practices.
Em’s pose got me thinking about the art of practice. I talked to a number of people about why and how they practice and checked in myself. It’s interesting stuff: Take a read.

Emma practicing.
Emma Fletcher: Yoga.
Do you practice to achieve a certain goals?
Sometimes, I am driven to accomplish a specific posture and set about to practice until I have achieved it. That’s great, as long as you are still enjoying the journey and your happiness is not dependent on the outcome, i.e. whether or not you actually achieve it. That’s a tall order – many of us are driven to achieve, so that in itself becomes the practice, giving your full attention and embracing the effort wholeheartedly AND not being attached to the fruits of your labour. Where the whole thing gets a bit dodgy is when you practice “comparison-asana”. That’s right, you know what it is, looking around the class and comparing yourself (in either a positive or negative light) to people around you. That generally comes to no good. Everybody’s body is different – literally, we’re all put together with different bone lengths, insertion points and varying degrees of muscle elasticity etc. In that sense, there is no such thing as the “perfect posture”, it is going to look different on every person, so the question begs, what are you comparing? It is so important in this practice to honour where you are at in this moment, not only to avoid injuring yourself physically but also to prevent those mental formations from convincing you that you suck or conversely that you rock! This type of practice is an ego-driven practice AND yes, most of us indulge in it from time to time.
Does your practice change from day to day?
How you feel and what drives your practice will be different everyday – that’s simply how it is. For me, the best practices are when I get out of my head and immerse myself fully in the movement. And yes, I’ll admit, I love the practices where my body feels uber strong, where I can go a little deeper than I did the time before and when the sequence flows effortlessly for me. What is key though is being aware of where your thoughts are taking you.
Emma is a certified yoga instructor, amongst many other things, and practices mindfulness meditation.

Stephanie Lavoie
Stephanie Lavoie: Trumpet.
How much practice do you do in a day?
Typically I practice 3-4 hours a day, in 30-40 minute sessions; I split up the sessions partly because as a brass player, playing is tiring, but mostly, to be able to keep my focus. Each session is organized ahead of time. I keep a journal so that I can plan what to practice in each session, and how long to practice each element I’m working on. This seems ridiculous, but if I don’t do this, I can spend the entire session on one thing, and as a result the other things that need work don’t get looked at.
As a freelance musician, it’s important to stay in shape in several different areas all the time, as you never know what kind of work is around the corner. The journal is a great way to keep practicing balanced; the tools I develop in these sessions are skills that I rely on in various situation. The journal also helps to keep track of progress. Improvement can feel very slow at times; looking back and reading my comments reminds me that there is progress and helps me to stay motivated.
Could you describe how your practice works?
While preparation for a solo recital, like the show Sunday, versus an orchestral concert (which is really what I focused on in school), is different in many ways, there are common elements. The first thing I do is listen to recordings; recordings help to familiarize myself with a piece, to learn how my part fits into the piece, and most importantly to develop a connection with the piece. I often make up stories to go along with what I’m playing; the stronger the story line, the clearer the narration (i.e. my performance). When the piece is ready to be performed, it is the story that I’ve developed that I am presenting. Not just the notes. (That’s the idea anyway. I’m not always successful!)
Do you break the pieces down and practice phrases and then put the whole thing together?
Once I’m familiar with the piece, the woodshedding starts. I work on the piece in sections. I break sections down to find sequences and other tricks that make the technical aspect easier. I work on the piece under tempo, and over time increase speed. If I prepare this way, I can rely on muscle memory for technical passages, which is important in performance when nerves are involved.
How do you know when the piece is ready?
Knowing when a piece is ready to be performed is difficult. I think performers are perfectionists who always strive to push the bar higher; I don’t know if there is such a thing as feeling completely content with a performance. In the end though, music is meant to be played! Nothing is ever perfect.

Sunday August 30, 4pm. Trinity-St. Paul's United Church.
You can hear Stephanie play in her solo recital this Sunday August 30 at Trinity -St.Paul’s United Church at 4pm. Visit www.urbanbrass.com/events for more info.

Jeffrey R. Smith
Jeffrey Smith: Actor
How do you rehearse or practice for an audition?
I read the scene a few times and look for a few initial gut instincts to pop up from it. Then I let it be for a while. If I have a couple of days to prepare, then I will look at the script again the next day, but will be thinking of it sporadically. Then I work at it again, with the intent of learning the lines. Then I leave it again and let the lines float around until it feels right in my body and the lines are coming out in a natural way.
What is the goal when you practice?
Ultimately I practice with the intent of getting the part. Not perfect, but confident that I am ready to walk in the room and play with the director and show him what I’ve come up with, my take on the role.
You can see Jeffrey in the upcoming AMC Series The Prisoner with Ian McKellen and the feature Casino Jack with Kevin Spacey.

Hinna practicing her banjo.
Hinna: The Banjo.
Why do you practice the banjo?
I practice purely for pleasure! It relaxes me to drum out the roll patterns, alternating chords. I can do this forever. I never chart my progress, but you can tell what pages in my “So you want to play Banjo” book I have worked on from the tea rings and various spills, scratches from my attentive kitty audience.
Why did you choose the banjo?
I chose the banjo because I was drawn to bluegrass and the wonderful (Often humorous!) sound it makes. The roundness of it also pleases me.
As well as being a beautiful banjo player Hinna also bakes amazing cakes! Read more in the Cakes on Cakes post.

Practicing pod casts.
Vic: Learning Cantonese.
I am always practicing something and my practice styles change depending on the requirements. Some things demand extremely structured, focused practice with a specific end goal in mind. Other projects require structured practice, but the practice is about exploration and surprise and the outcome is decided when it is discovered. Other things are long-term projects (maybe even lifetime) with no real outcome expected and the practice is just for the love of practicing. I enjoy mixing all of these forms of practice. It keeps things fresh.
I am trying to practice Cantonese at the moment. I would like to get to a point where I can carry on a conversation, but I think that my I tunes “Learn Cantonese” pod casts may not be the only help I need, and some classes may be in order in the future. I try and practice a little bit every day. It is fun and practicing is tuning my ears even more to the tiniest change of inflection, melody and tone. This is definitely a lifetime practice. (Along with doing the splits.)

Choosing a score.
Michael Chan: Violin
When did you start to play?
I started practicing when I started playing at age 3. HOWEVER, my mom directed the first few years of practice as no child that age really has a concept of practice yet.
Did you like to practice?
I did not always love it. Most of the time when I was young, I hated practicing. But knowing that I had a lesson every week was motivation to practice; otherwise I would face my teacher unprepared (like not doing your homework). I enjoyed making music, and I knew that practicing was the only way that I would be able to sound good. After playing for many years, I knew I had progressed a great deal, and knew that if I didn’t practice, I would lose a lot of what I had worked so hard for, so that became a motivation to practice too.
Why did you stop practicing?
I stopped practicing after I stopped taking lessons (when I was about 24). I didn’t feel like I needed to perform for someone every week anymore, so everyday life took over. I played occasionally after that, and would practice for a few weeks leading up to a little performance, but then it would stop again.
Do you think you will focus on it again in the future?
I will always play. It may be on and off, but I will always play. Perhaps if one day I have someone to play for, or play with, I will be motivated to practice more regularly, but once the momentum stops it is difficult to get back into it again, like anything else in life.
As a surprise gift Michael secretly practiced his violin and played on Christmas morning. It was the best gift.

Taking a test drive.
Finally: A friend of mine was learning to ride her bike in the city for her daily commute and decided to try her route out on a weekend when there was less traffic so she could gain confidence before riding in Monday morning rush. She practiced over a couple of weekends before she felt ready and it paid off. With a little practice and knowing her boundaries, she now rides to work on a daily basis.
What are you practicing these days?