The Inner Game of Music

1. The Inner Game: Overcoming mental interference to reach your full potential

Players of the Inner Game find that when they focus on eliminating mental interference, their outer game performance automatically comes closer to their potential.

Mental interference hinders performance. The Inner Game is based on the principle that our performance (P) is equal to our potential (p) minus interference (i), expressed as P = p - i. This interference often comes from our own minds, in the form of self-doubt, fear, and excessive self-instruction.

Self 1 vs. Self 2. The book introduces the concept of Self 1 and Self 2. Self 1 is our interfering, doubting, and controlling voice, while Self 2 represents our natural abilities and intuitive knowledge. The goal of the Inner Game is to quiet Self 1 and allow Self 2 to perform freely.

Application beyond music. While the book focuses on music, the principles of the Inner Game can be applied to any area of life where performance matters, from sports to business to personal relationships.

2. Awareness, Will, and Trust: The three core skills of the Inner Game

Awareness is the first Inner Game skill and in many ways the most fundamental.

Awareness involves non-judgmental observation of what is happening in the present moment. It allows us to perceive our actions and their outcomes clearly, without the distortion of self-criticism or praise.

Will refers to the direction and intensity of our intention. It involves setting clear goals and moving towards them with purpose.

Trust is the ability to let go of conscious control and allow our natural abilities to express themselves. It involves confidence in our Self 2 and a willingness to risk failure.

These three skills work together to create a state of relaxed concentration, where peak performance becomes possible.

3. Performance, Experience, and Learning: Balancing the three dimensions of musical growth

When the outer game goal of performance is balanced by the Inner Game goals of experience and learning, we are more likely to succeed in each of these three areas.

The P.E.L. Triangle:

• Performance: The tangible results and achievements
• Experience: The quality of our engagement and enjoyment
• Learning: The growth and development we gain

Balanced growth. Focusing solely on performance can lead to stress and burnout. By giving equal attention to the quality of our experience and our learning process, we create a more sustainable and fulfilling musical journey.

Goal-setting across dimensions. The book encourages setting specific goals in each area:

• Performance goals (e.g., mastering a difficult passage)
• Experience goals (e.g., enjoying the practice process)
• Learning goals (e.g., understanding a new musical concept)

4. Letting Go: Techniques to access your natural musicality

When we eliminate our doubts and fears simply by ignoring the voice of Self 1 inside us, we also find we have eliminated its physical and mental effects.

Eight techniques for letting go:

1. Role playing
2. Becoming the music
3. Doing something familiar
4. Letting the body take over
5. Letting go to the environment
6. Letting go to overload
7. Letting go to the ridiculous
8. Letting go to the impossible

Bypassing self-interference. These techniques are designed to distract or overwhelm Self 1, allowing Self 2's natural abilities to emerge. They often involve shifting focus away from technique and onto imagination, emotion, or physical sensation.

Experimentation and play. The book encourages readers to approach these techniques with a spirit of playfulness and curiosity, recognizing that what works best may vary from person to person and situation to situation.

5. Enhancing Musical Experience: Finding joy and challenge in practice and performance

You don't have to be serious and tense in order to learn.

Reframing practice. The book challenges the notion that effective practice must be grueling or boring. Instead, it encourages musicians to find ways to make practice enjoyable and engaging.

Techniques for enjoyable practice:

• Setting experience goals alongside performance goals
• Incorporating play and experimentation into practice sessions
• Using visualization and imagery to connect with the emotional content of the music
• Varying practice routines to maintain interest and challenge

Valuing the process. By focusing on the experience of making music, rather than just the end result, musicians can find greater satisfaction and motivation in their daily practice and performances.

6. The Art of Non-Judgmental Teaching: Fostering growth through awareness-based instruction

Awareness instructions put students into an entirely different frame of mind. They are based on the students' own experience – their ability to learn by noticing what's happening.

Problems with traditional instruction. The book critiques the common "do this" style of instruction, which can create doubt, confusion, and self-consciousness in students.

Awareness-based teaching:

• Focuses on what the student can observe and experience
• Avoids judgmental language and excessive verbal instruction
• Encourages students to trust their own perceptions and learning process

Examples of awareness instructions:

• "Notice the angle of the bow when the resistance is steady."
• "Listen to see whether you are behind or ahead of the other violins with your pizzicato."
• "Pay attention to the degree of increase in volume as you play higher notes."

7. Ensemble Playing: Harmonizing individual potential with collective performance

When fifty to a hundred people work together to create a musical experience, there are unlimited opportunities for human interaction – large musical groups are extended 'learning labs' for every brand of mental interference, external and internal.

Challenges of ensemble playing:

• Balancing individual expression with collective goals
• Responding to the direction of conductors and other leaders
• Maintaining focus and engagement in supporting roles

Techniques for effective ensemble playing:

• Setting clear individual goals within the context of the ensemble
• Developing trust in oneself, fellow musicians, and conductors
• Expanding awareness to include other parts and the overall sound
• Using inner singing and visualization to connect with other parts

Benefits of ensemble playing:

• Opportunities for deep musical collaboration
• Development of listening and responsiveness skills
• Experience in navigating complex social and musical dynamics

8. Integrating Analytical and Global Approaches: Balancing technique and intuition in music

George Szell has said: 'think with the heart and feel with the brain.'

Analytical approach:

• Focuses on technical details, structure, and precision
• Emphasizes logical problem-solving and step-by-step learning
• Tends to be more verbally oriented

Global approach:

• Focuses on overall expression, emotion, and intuition
• Emphasizes holistic understanding and spontaneous learning
• Tends to be more visually and kinesthetically oriented

Balancing the approaches:

• Recognizing personal tendencies towards one approach or the other
• Practicing techniques that develop both analytical and global skills
• Adapting the balance of approaches to suit different musical styles and situations

Benefits of integration:

• More complete musical understanding and expression
• Greater flexibility in learning and performance
• Enhanced ability to connect technique with emotional content

Last updated: January 22, 2025