Approach

Approach

1. Flexibility

   • It’s sort of---sort of when I can. So always have the book with you umm and then sort of of practice when you can. (G)
     • Flexibility for 'G' is crucial in getting the most out of his practice. It is important in achieving a comprehensible structure of a piece.
   • If I did that and I said I’ll practice at 11o’clock every day I---the practice wouldn’t be any good.  (G)
     • 'G' shows that being flexible is essential to his practice regime and highlights that his practice times are irregular.

2. Semi-structured

   • No I just uh I go to the practice room. (G)
   • Always oh yeah always on the difficulty of the piece umm and obviously umm in the way I’m learning pieces for jazz there’s different things I’ll have to learn. (G)
     • 'G' stated that the level of difficulty would influence his practice.
   • Uhh at home late at night. Umm once I've learned the piece and I don’t need to look at the score I play with the lights off at night. (G)
     • There is some sort of semi-structure that 'G' follows unconsciously.
   • I don’t usually set the time for practice. (Y)
     • 'Y' talked about how she does not really set time to practice but there is a recurring routine.
   • But usually I practice in the evening. (Y)
     • There is a slight difference between the two participants as 'Y''s practice is more regular.
   • Err maybe on the day of the performance I would run through the piece...not practice too much. (Y)

3. Mood Orientated

   • Yeah yeah when I'm in the right mood to practice. (G)
     • 'G' states that his temperaments dictate whether he practices.
   • Umm sometimes I'll play something that I enjoy it depends how my day is going. (G)
     • 'G''s practice regime is a spontaneous decision that is heavily affected by his current mood and therefore is a constant changing factor for his practice.