INNER GAME OF MUSIC PDF
Book Overview by Biljana Bojović February 25, The Inner Game of Music () by Barry Green Inspired by the. author of The Inner Game of Tennis () by W. Timothy Gallwey Mr. Barry Green is a contrabassist living in San Francisco Bay Area. He gives concerts around the world. Article on The Inner Game Of Music (by Barry Green and W. Timothy Gallwey), American Music Teacher, January For years I had heard how musicians used W. Timothy Gallwey's Inner Game of Tennis to. to control my skiing (or music) and let go to a different kind of learning. Start by marking “The Inner Game of Music” as Want to Read: W. Timothy Gallwey. By the best-selling co-author of "Inner Tennis," here's a book designed to help musicians overcome obstacles, help improve concentration, and reduce nervousness, allowing them to reach new levels of.
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Editorial Reviews. From the Publisher. By the best-selling co-author of Inner Tennis, here's a book designed to help musicians overcome obstacles, help. I remember first coming across the Inner Game of Music whilst in a bookshop in Brighton, UK back in I pulled it off the shelf for no other. The Inner Game of Music is that which takes place in the mind, played against such elusive opponents as nervousness, self-doubt, and fear of failure. Using the .
Hear the entire orchestra as you play your part, feeling the comfort of blending with your imaginary colleagues; accompanying, soloing, playing rhythm, harmony, counter melody.
When you play this way, the jury also senses the orchestra's presence, hearing you in touch with the real music. This sets you apart from the others who are attempting to impress a jury with how fast and clearly they articulate their notes but never really connect with the music as it naturally sounds.
She was struggling to gain control of her vibrato. She said it felt stiff and sounded too fast, In an attempt-to gain control she forced her hand to vibrate-faster, slower; wider, more narrow.
This seemed to help, but she was only partially satisfied. The first finger was still weak, the second sounded good, the third fair, the fourth bad. Instead of trying harder at the same exercise, I asked Jan to play the phrase without any vibrato. No problem. Then I asked her to let her left hand choose only four notes for vibrato and that she should not decide which notes by figuring it out in advance.
What About Your Inner Game? (corrected)
Her left hand will make the decision to vibrate based on what she bears. This sound will determine the speed, width and choice of notes for vibrato. She played beautifully, her hand responding sensitively to the direction from- the sound.
The power of the sound of the music controlled her fingers better than her own strength could. The other notes in the phrase didn't need any vibrato at all.
Neither her fingers nor the piano would respond to her instructions. Her playing was tentative and inaccurate, lacking good rhythm and expression. She was asked to repeat the Mozart, but while she was playing to verbally talk about this grand piano as if she were trying to sell it to me. In order to do this she would play along while describing the tone quality of the instrument the speed of its response, etc.
She began playing and said: "Well, you hear the tone- is rather mellow while these chords feel rich. The pedal works very efficiently and the action feels quick. She was delighted with the piano and excited about the music. She felt she gained the control she was unable to find in the beginning by just letting go to the touch of the instrument.
Her elegant personality and well-kept-physical appearance was a clear statement to all that she had her musical act under. However, she played the Debussy with a stifling, methodical approach, clearly showing she was frustrated with her performance.
When asked how she felt, she replied, "I have trouble remembering all the right notes and feel I don't have enough physical strength to play this piece. I was worrying about playing poorly in front of all these people and things just got totally out of control!
We decided to imitate and improvise our own version of the prelude, something Ellen had never done either by herself or in public.
She played the rumbling figure representing the muse, and then at the most unpredictable times would explode with loud chords while shouting "BANG! After realizing this version wasn't anything like fireworks, she anticipated what needed to happen, Ellen gradually lost her identity and became transformed into a mischievous kid with a secret up her sleeve.
Her hair had come slightly disarranged. Her posture tightened like a snake ready to strike, She let go of worrying about hitting the right chords and became unpredictably explosive.
Her improvised performance was electrifying!
The Inner Game of Music
Returning to Debussy's rhythm and notes, Ellen played with a new sense of letting go to the true meaning of the fireworks in the music. She acknowledged that the Debussy really needed to be played "out of control" in order to be authentic. Gaining Control by Letting Go of Preconceptions Also in Brisbane, Jack was playing a Haydn cello concerto and was disturbed by playing on stage in a large hall when he was used to the comfortable sound of a small practice room.
The piano accompaniment sounded so different that, he could not concentrate on the music. His scale passages were out of tune, and his rhythm suffered.
He felt the balances were all wrong, especially different from the way he had practiced. Jack agreed to explore playing without any preconceived balances. His accompanist was instructed to change the volume, tempo and style every two measures.
Jack was only to play his part and follow the lead of the accompanist. I learned about the Inner Game from a friend of mine and I've been wanting to read more about it for a while. I'm trying to pick up music lately and it seemed like a great way to get introduced to those ideas.
The gist of it is creating a It's a bit tricky to rate this book. You should try to silence Self 1 as much as possible and focus on Self 2. A good example is working on dynamics in a musical piece - instead of trying to play evenly, you should just be aware of how loud or soft you play.
In this particular example, you create a better feedback loop between what you're doing and what you're hearing, which is purported to be more effective than focusing on trying.
The book is full of exercises and applications of the Inner Game technique.
I'm very eager to try some of them, but since they are geared towards proper musicians, I cannot really practice a lot of them. Even if we put aside the whole Inner Game part, the book was full of interesting stories and thoughts about music - that alone made it worthwhile to read.
However, while many of the concepts the book gives are excellent, I found the writing patronising and long-winded.
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While it is sometimes useful to have the 'Inner Game' techniques spelled out in musical concepts, I have found that 'the Inner Game of Tennis', which I am currently reading, is generally more useful in spelling out concepts. Many of the exercises in 'the Inner G This was accidentally given to me by my viola instructor after being recommended as a way to improve my performing skills. Many of the exercises in 'the Inner Game of Music' seem to dumb down the concepts presented rather than promote them.
I think almost all readers of this book are experienced musicians looking to up their game and tapping exercises were both pointless and hindered reading the book in public. If you're looking for similar concepts I would highly recommend reading 'the Inner Game of Tennis'. It presents the same concepts but in a more concise manner that does not assume the reader is clueless. The tennis metaphors are not a hindrance and the book is considerably shorter! I was recommended to it by my piano teacher, hoping that it would help me with some of my performance anxiety.
However, I found it completely unhelpful. I found myself falling to sleep while reading it when it wasn't even bedtime. To keep it short and sweet, I found the analogies and connections from sports to music a little far fetched, and it didn't keep me interested. Also in Brisbane, Jack was playing a Haydn cello concerto and was disturbed by playing on stage in a large hall when he was used to the comfortable sound of a small practice room.
The piano accompaniment sounded so different that, he could not concentrate on the music.
His scale passages were out of tune, and his rhythm suffered. He felt the balances were all wrong, especially different from the way he had practiced. His accompanist was instructed to change the volume, tempo and style every two measures. Jack was only to play his part and follow the lead of the accompanist. The first two measures began as rehearsed, then the piano took off faster and Jack had to follow. The B theme was half tempo and very romantic.
Then the volume increased and the tempo quickened. Jack was getting so good at responding to the changes, he seemed like a champion bull rider who could not be thrown. His performance was sensational!
We all learned that letting go to that unpredictable balance and tempo change was by far more effective than having everything the way it was planned in the practice room.
Jack returned to a more traditional framework of interpretation and played with a new sense of spontaneity and aliveness that delighted everyone. Jesus Lopez-Cobos, music director of the Cincinnati. Symphony Orchestra, brings a new sense of excitement and musicality to the stage that captures the attention of musicians and audiences alike.
His unique instructions to his players seem to inspire a new quality of ensemble precision, pitch awareness and cooperation from his musicians. Lopez-Cobos completed formal music studies after he received a doctorate in philosophy Perhaps this contributes to his effective communication with the musicians.
He seldom tells the musicians that something is right or wrong. He frequently asks musicians with a polite Spanish accent to "take attention" to the phrase, ensemble, pitch, balance or rhythm. The natural response to this "I take attention" cue is to listen or notice something and then voluntarily do something about it. In a way, Lopez-Cobos is not criticizing, judging or controlling his players, but instead is just asking them to pay attention to what is going on and to make their own adjustments.
The difference brought about by this kind of relationship has created a dramatic shift in the participation of the entire ensemble: Attention cures the problems. When practicing, our neurological system and brain function much like a computer that stores information and brings it back when it is signaled. It doesn't make sense to program a computer with 90 -percent bad information. If we call on this poorly programmed computer to.
Is practicing really programming mistakes? Let me speak for myself and describe how I used to practice. For months, I would hammer away at a piece on my double bass hoping the week before the performance I would play the way I like. But in the months of practice, 1 had been playing out of tune, correcting bowings, struggling with string crossings, following fingerings, forgetting dynamics and neglecting the expression until I got everything in place just days before the performance.
Then I prayed a lot for a miracle and hoped to only draw on my last three days of practice under the most stressful conditions of the concert. There is another way. If one expects the body to remember everything it has ever experienced, then why not play only what you want to repeat during a performance?
Sound idealistic? At a slower tempo, almost anything is possible.
One doesn't have to practice wrong notes, and yet, one can still maintain the dynamics and character. It is also possible to learn notes and work out fingerings away from the instrument. Here is an example.
Say you have six weeks to study a piece. Spend two weeks studying the music away from your instrument voice. Get a recording if possible, and sit in front of your music until you can sing it in your mind or -aloud by memory.
Don't touch your instruments until you know exactly the sound you would like. There is still time to explore different interpretations. Then when the sound of your music is indelibly clear, check your mental image with your actual performance and allow adjustments to be made. You may find you didn't have to practice mistakes at all! If you spend 90 percent of the time playing what you want to retain, then you have reversed the cycle and can expect to -be at your best 90 percent of the time on stage.
Respect your body, brain and muscle memory like a precious white silk sheet-that you don't want to get dirty Notice how easy it is to memorize this music because of your advance practicing. After having read the book several times, she was eager to play using her new Inner Game techniques, However, her performance was not satisfying because her techniques backfired.
Kate was very attached to sounding good and equally attached to her inner Game techniques. Trying to use the right technique became a new distraction disconnecting her from the music. What we need to become attached to is the music - the sounds, the feelings, images and style. If we learn music in an ideal state of concentration, without practicing mistakes, we can have it all. Inner Game techniques will work if used to connect you to the music I but not to success.
Even after the technique connects you to the music, it is good to let go of it even further and enjoy the beauty and exhilaration of losing yourself, your ego, personality, and to dissolve into the true essence of the music. Yehudi Menuhin gave me the most meaningful lesson I have ever learned about control.He is always 'shocked' by the fact that everything he says works brilliantly for everyone he's ever known.
No trivia or quizzes yet. Pure awareness is seeing reality for what it is, without judgment. The Practice Revolution Practice Planner. It is time to experience real play in our performing again.
The Inner Game of Tennis.
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