The Inner Game of Music book. Read 82 reviews from the world's largest community for readers. By the best-selling co-author of Inner Tennis, here's a b. 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 . 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.
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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. 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. 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.
Extremely valuable for novice musicians. 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. It is for this reason that wise people learn not to dread but actually welcome problems. About Barry Green W. It was very resourceful and I am going to refer to it throughout my musical career. Mar 13, Matt rated it liked it Shelves:
But it in no way can substitute a real teacher. A common theme in the book is to: For example, the author would suggest try playing a passage as loud as you comfortably can, then as soft as you comfortably can, and suggest you to try and find a middle level in between. I mean, that kind of generic advice might be good for the first step, but doesn't really offer anything substantially useful for going beyond that level of mastery.
I feel like this book addresses and is helpful to certain students of music struggling with the specific problems covered in the book. Which are: Overall I think it would help most students. But you should skim through parts that you feel are irrelevant Apr 23, Amalie Simper rated it really liked it Shelves: This was a re read from my college days in piano performance degrees.
It was such a great reprise to see how I have grown as a musician over the years. It explains the idea that a person has two sides to their personality self 1. The self conscious doubting side and self 2. The letting it go, emotion filled side. He gives 4 different ways to work on awareness, several ideas that discuss will power and trust in your playing.
It discusses working on your individual instrument, working in ensembles This was a re read from my college days in piano performance degrees. It discusses working on your individual instrument, working in ensembles, and improvisation. I did appreciate the memories of the sound recording devices of the 80's.
Mar 30, Tyrone Steele rated it it was amazing. This is an astounding work related to breaking down the walls that prevent us from executing a relaxed and enjoyable performance. I recommend this for all musicians, but is applicable to nearly any type of performance. I bought this book years ago but decided to re-read it and see what tips I can gain for playing piano.
Feb 18, Sarah rated it really liked it. Helped me learn how to deal with my stage anxiety and helped me to focus better while performing. Apr 04, Hannah King rated it really liked it. The Inner Game of Music was a very helpful book for people who have performance anxiety.
Since reading it, I've learned a lot from the book and have grown more confident in my music skills. It explains different methods of how to cope with performance anxiety, and how to be a better musician. For example, the book portrays different stories of different people who struggle with performance anxiety, and how people got over it, from thinking it's okay to mess up to even taking deep breathes and cl The Inner Game of Music was a very helpful book for people who have performance anxiety.
For example, the book portrays different stories of different people who struggle with performance anxiety, and how people got over it, from thinking it's okay to mess up to even taking deep breathes and clearing your mind.
The book also gives you examples to play or sing on, and lets you look at music in a different spectrum. Even though there might be some stories, this isn't a storybook, it's an informational book on how to cope with your fears. So I wouldn't give this book to a little child, or a starting musician, it might panic them into not playing the instrument.
The book would be more for people who have been playing for quite some time, and struggle with performance anxiety. The things you should not look forward to the book is a simple, and open message, there's many messages and different techniques, which made the book kind of confusing of which method would be better, yet it was balanced out by directions and the examples. The introduction was also sloppy, first trying to put in three little stories, but also explaining that their's other books for help with people that the Author wrote, and even though it one of the most informational books, it is outdated a little in information.
Yet, I liked the way all the methods taught in all different manors, and how it had examples showing that the methods work. Overall, the book it a good story for someone who struggles with music-based things, and just performance anxiety in general, and would be one of the still most used book to this day.
Mar 13, Matt rated it liked it Shelves: I think I'd give this another star, star and a half if I were a practicing musician. The rating shouldn't be counted as a knock against the book. There is excellent advice here if you ARE a musician. I read it because I've found that these books can be helpful if you take the subject as a stand-in for your own sport or hobby. That was the case with this book. The Classic Guide to the Mental Side of Peak Performance and applies them, with concrete examples, to practicing musicians.
The downside of this approach for the non-specialist is that you don't get complete mileage when the subject gets into the guts of technique. That's okay. There's still enough here to keep you interested, though I wonder if Gallwey's original book might not be more appropriate, as it spends more time on the basics of the ego-centric Self 1 and the Zen-like Self 2.
Mar 16, Hope F. The Inner Game of Music deals with the inner struggles of nervousness, self-doubt- and the fear of performing in front of others. The book is helpful if you are struggling with self confidence issues when performing, which is why I personally decided to read it.
The book is also designed to give new insights on how to truly appreciate music as a whole, and ho The Inner Game of Music deals with the inner struggles of nervousness, self-doubt- and the fear of performing in front of others. The book is also designed to give new insights on how to truly appreciate music as a whole, and how to understand the process of composing it and performing it.
Green also gives exercises and demonstrations that can help improve technique in any aspects of music. This book has really helped me overcome my anxieties of performing in front of others, and I have learned a lot from it. Apr 26, Kit Warren rated it it was ok. This book has some useful information but is definitely entirely for classical players, despite the writer's attempts to make it universal. Its connections to the ideas of 'Inner Game' feel super forced and far better suited to sports as it was originally intended for.
The most laborious part of this book is that the writer uses incredibly boring examples of his techniques working again and again which all read exactly like this: Before my eyes, she became the best thing ever, we were shocked! I'd believe he was making them all up if they weren't so boring. He is always 'shocked' by the fact that everything he says works brilliantly for everyone he's ever known. It's like Cake Boss but without the fun or the cake. Self 2 freedom from self 1 discipline I really enjoyed this book and its discussion of self 1, with all of its doubts and fears, and self 2, the uninhibited part of us that we need to allow to take over in difficult situations.
Intuition is key, and we can enjoy and create much more fluidly if we allow ourselves to follow those deeper feelings without letting logic destroy the moment. Nevertheless, I felt the book was mostly appropriate for professional musicians, and not so much amateurs or begi Self 2 freedom from self 1 discipline I really enjoyed this book and its discussion of self 1, with all of its doubts and fears, and self 2, the uninhibited part of us that we need to allow to take over in difficult situations.
Nevertheless, I felt the book was mostly appropriate for professional musicians, and not so much amateurs or beginners. The terminology was often beyond what I would expect a beginner to understand, and many beginners are often unable to let self 2 take over because they have never brought themselves to a level of self 1 discipline to learn the piece thoroughly enough that they can allow self 2 to emerge.
Perhaps this book will help them though. Jan 17, Tara Robinson rated it liked it. I read this after graduating from college with my BM - I had previously read The Inner Game of Tennis as recommended by one of my professors to help conquer stage fright I know, right? However, I thought that The Inner Game of Tennis did a much better job at addressing some of the more intricate details of stage performance again, I know- right?
So if I read this after graduating from college with my BM - I had previously read The Inner Game of Tennis as recommended by one of my professors to help conquer stage fright I know, right?
Jan 14, CharityJ rated it really liked it Shelves: Even though an older title, everything still applies and even though it's focused on music, there are still a lot of takeaways for anyone trying to get out of their own way and progress to the next level. Took a lot of notes while reading because there was so much I wanted to remember. He breaks down the process of moving from status quo to growth. The mental game is often the biggest piece to the puzzle and he thoroughly explains how to overcome mental roadblocks to success.
Highly recommend fo Even though an older title, everything still applies and even though it's focused on music, there are still a lot of takeaways for anyone trying to get out of their own way and progress to the next level.
Highly recommend for any performer at any level. It's a book to refer back to when you find yourself stuck. Dec 12, Jessica rated it liked it. Ahead of its time in that it encourages mindfulness a few decades before everyone else and their mother did but after its time in that "You can use your brain to get good at music" was also the premise of "The Music Man. It's fine, though. It's fine. Meredith Willson deserves royalties, but it's fine. May 15, Lyn rated it liked it. As a music teacher I dived into this book with enthusiasm.
There are some useful exercises and tips for overcoming nervousness as a performer, directing your focus and using practice time more effectively. I learned quite a bit but ultimately felt a bit let down; or perhaps it is just that there is no real alternative to just getting on and doing lots and lots of practising!
Jul 02, Kevin rated it really liked it.
This was a good read for a classical musician. It gives helpful methods for solo playing, auditioning, ensemble playing, and teaching, which I did not expect to see going into this book.
I read an older copy which was a bit outdated from a technological standpoint, but the author's methods could easily be adapted for modern technology. Interessant omdat de auteur advies geeft hoe die innerlijke demonen die je steeds weer stressen voor een examen of optreden te onderdrukken.
Makkelijk is anders. Aan een persoonlijkheid valt weinig te veranderen. Je bent een stresskip of niet. We kunnen enkel ons best doen. Jan 05, sami al-khalili rated it really liked it. Extremely valuable for novice musicians. Be prepared to act on the exercises. If not, you're wasting your time. Dec 29, Alex Boon rated it it was ok Shelves: Didn't help me much and didn't get along with the style of it. Half of it seemed to echo my Buddhist practice but less useful.
Oct 20, Jacqueline rated it it was amazing. There are many helpful tools that it provides. Whenever a tool is discussed, there is an excercise for the reader to try.
Thus, rather than just reading the book you can put the tools to practice and remember them easier. I appreciated these excercises. There were simple to understand and made a big difference in my music playing. The book describes a self 1- the voice in your head that is always criticizi The Inner Game of Music by Barry Green is a book any musician, young or old, should read.
The book describes a self 1- the voice in your head that is always criticizing your playing and is telling you what's wrong, and a self 2- the voice that is motivating and helpful.
By understanding both of these voices, it is easier to simply block out self 1 and focus on self 2, thus creating better results. As a performer sometimes it is very hard to not be nervous and be able to focus to your potential.
There are tools in this book that trick your brain, and can literally change the way you perform or play. I have practiced tools and I am very impressed with them. I enjoyed the book. I am not big on non-fiction reading, so it did take me a while to read it. But I also blame it on my brain trying to grasp the tools and try them in real life.
I am actually reading Green's second novel titled The Mastery of Music as well. I think that these books have sufficient and plenty methods that everyone should try. There are certain tools that may work better for others, so I think it's nice to try all of them personally and pick out your favorites. I marked my books several times to remember which tools worked best for me.
I highly recommend The Inner Game of Music for those of any age, musician or non-musician. It was very resourceful and I am going to refer to it throughout my musical career. Apr 07, Laura rated it liked it Shelves: While I know that the inner game works, I had an issue with this book - all of the examples of problems were too easily solved.
As a music teacher, I know that solutions aren't always easy - even inner game solutions. Sometimes it takes more than noticing and awareness to solve a problem.
I wish the book explored that - and dealing with ongoing frustration - that would have been helpful. As for the end when he mentions that he forgot black socks for a gig - and solved that particular problem by s While I know that the inner game works, I had an issue with this book - all of the examples of problems were too easily solved. As for the end when he mentions that he forgot black socks for a gig - and solved that particular problem by searching and finding black electrical tape - to wrap his ankles to appear socked - its a myth.
Every performance group orchestra, wind ens, guitar ensemble, and various other musical groups that story has been told. It is not unique to the author. Paint, paper, tape -its always nearby. This sound will determine the speed.
No problem. The lights on the ceiling became the clouds. John sang to the water. Orchestral auditions can be approached in a similar way. Her left hand will make the decision to vibrate based on what she bears. This seemed to help.
Rather than playing your excerpt like it was a solo competition piece. The first finger was still weak. Neither her fingers nor the piano would respond to her instructions. Instead of trying harder at the same exercise. The four judges represented a flowing stream. Hear the entire orchestra as you play your part. 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. When asked how she felt.
The pedal works very efficiently and the action feels quick. After realizing this version wasn't anything like fireworks. Her attention to the touch allowed her performance to become more accurate. She played the rumbling figure representing the muse. 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. In order to do this she would play along while describing the tone quality of the instrument the speed of its response. She let go of worrying about hitting the right chords and became unpredictably explosive.
She acknowledged that the Debussy really needed to be played "out of control" in order to be authentic. Her hair had come slightly disarranged. Her posture tightened like a snake ready to strike. She began playing and said: Jack agreed to explore playing without any. She was delighted with the piano and excited about the music. She was asked to repeat the Mozart.
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. Ellen gradually lost her identity and became transformed into a mischievous kid with a secret up her sleeve. Her elegant personality and well-kept-physical appearance was a clear statement to all that she had her musical act under. His scale passages were out of tune.
The piano accompaniment sounded so different that. 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 improvised performance was electrifying! Returning to Debussy's rhythm and notes. He felt the balances were all wrong. Ellen played with a new sense of letting go to the true meaning of the fireworks in the music.
Is practicing really programming mistakes? Let me speak for myself and describe how I used to practice. Lopez-Cobos completed formal music studies after he received a doctorate in philosophy Perhaps this contributes to his effective communication with the musicians.
The first two measures began as rehearsed. Jack was only to play his part and follow the lead of the accompanist. Jack returned to a more traditional framework of interpretation and played with a new sense of spontaneity and aliveness that delighted everyone. His unique instructions to his players seem to inspire a new quality of ensemble precision. Then the volume increased and the tempo quickened.
He seldom tells the musicians that something is right or wrong. His accompanist was instructed to change the volume. It doesn't make sense to program a computer with 90 -percent bad information. If we call on this poorly programmed computer to.
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. Symphony Orchestra. There is another way. 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. I would hammer away at a piece on my double bass hoping the week before the performance I would play the way I like.
He frequently asks musicians with a polite Spanish accent to "take attention" to the phrase. 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. The B theme was half tempo and very romantic. But in the months of practice. In a way. Lopez-Cobos is not criticizing. The natural response to this "I take attention" cue is to listen or notice something and then voluntarily do something about it.
Jack was getting so good at responding to the changes. After having read the book several times. If we learn music in an ideal state of concentration. There is still time to explore different interpretations. Even after the technique connects you to the music. Inner Game of Music.
Get a recording if possible. Yehudi Menuhin gave me the most meaningful lesson I have ever learned about control. Here is an example. Respect your body. Inner Game techniques will work if used to connect you to the music I but not to success. Sound idealistic? At a slower tempo. Don't touch your instruments until you know exactly the sound you would like. Say you have six weeks to study a piece.
Spend two weeks studying the music away from your instrument voice. I heard a lovely harpist who was very dedicated to the. You may find you didn't have to practice mistakes at all!