The Inner Game of Music

The Inner Game of Music

A few years ago my violin teacher suggested I read The Inner Game of Tennis by Timothy Gallwey, to help me overcome technical difficulties whilst playing. Even though the title suggests that the book is all about tennis, it presents a technique that is applicable to almost anything. Hence there has been a flood of follow-up books such as The Inner Game of Music/Golf/Work etc. However, I would suggest the original book as it is the most accessible, and to then continue with The Inner Game of Music if one wishes.  

Gallwey (1975) proposes a theory of The Two Selves. According to him Self 1 gives instructions and Self 2 performs the actions. He suggests that the key to better performance in any area (not just tennis) lies in improving the relationship between Self 1 and Self 2. Furthermore, he theorizes that the more irritated or critical Self 1 is, the worse Self 2 performs. His method can be summarized as distracting Self 1 into such a degree that Self 2 can perform it's best without the negative interference of the former.¹ Also, Gallwey claims that the greatest efforts in sports ‘come when the mind is still as a glass lake’.²

He continues with describing techniques to enable the performer to let go of judgments; judging being one of Self 1’s favourite activities. Only when the mind stops judging events outside itself can it start seeing things as they truly are. When you stop judging yourself you will automatically start experience what happens and be more aware about the area that is causing the trouble.³

Also, he illustrates how there is a natural learning process which operates within everyone – if it is allowed to. But to discover this process, it is necessary to let go of the old process of correcting faults; that is, it is necessary to let go of judgments and see what happens.⁴

Furthermore, he discards the use of positive thinking, with the argument that it only engages Self 1 into trying to affect Self 2’s actions, by putting a judging veil over the whole process. Instead, a sense of trust should be developed between the selves, unaffected by judgment, which will lead to self-confidence.⁵ Moreover, a picture is worth more than a thousand words for Self 2. Simply by watching someone play and absorb their physical movements can you unconsciously change your own habits of moving. Self 2 can be programmed using three basic methods: programming for results, programming for form and programming for identity.

Programming for results means to simply imagine the desired goal (for example how I want the music to sound) and let it happen, without letting Self 1 have the opportunity to give ‘how-to-do-it’ instructions. Programming for form is very similar, but focus on the process of imagery. For example, to clearly see a mental picture of how I want my left hand fingers to be close to the strings, but without actually trying to keep them closer, which will only cause tensions, but simply keep a clear image of the desired result and leave the hand to do work by itself. Programming for identity means to put yourself into a role, imagining for example to I really am Hilary Hahn or Joshua Bell, and not only to try to play as good as them.⁶ The first time I tried this technique I was amazed at how my posture immediately changed, as well as my sound and listening skills. All of a sudden I was extremely aware of the sound I was making and I was more absorbed in the music making.

Basically, the ultimate goal is to simply observe yourself performing an action, without judgment. This requires a certain amount of concentration. Some of the techniques Gallwey points out are connected with sight, sound and feeling. To develop an awareness in these areas automatically brings concentration, to be completely absorbed in the sound you are making or how your body feels when you are creating it, without judgment. Equally important is the sense of a here and now that prevents you mind to drift.⁷

This book has been invaluable in making me understand how you can be your worst enemy while playing and performing, something I used to struggle with a lot when studying at college. I am integrating these techniques into my violin teaching, and the results are astonishing!

References

1 Gallwey (1975), p. 18-21

 2 Ibid., p. 23