The Alexander Technique for Musicians (Kingfisher Readers)

I found this book extremely valuable, even though I am not a musician. I originally borrowed the book from public library after taking some lessons in Alexander technique. My motivation for taking the lessons and reading the book was to improve the way I use my body in partner dancing. I found the book well-written and clear, with a wealth of insights that I could apply to dance. This is what I posted on Facebook after reading the book:I just finished the best book I've read about dancing – and it's not even intended to be about dancing. To some extent it's because the material coincides so well with other things I've been learning and experiencing lately. As I was reading the book, pieces just kept clicking into place. I'll post some quotes, and you can tell me what you think. Does it apply to dancing?> "Awareness, as I conceive it, is a general, unfocused condition in which a person is wide awake and alert to whatever may be going on without being concentrated on anything in particular. Attention, on the other hand, is focused on some particular aspect of the field. It has been compared to a spotlight on a dark stage."-F.P. Jones> Jones goes on to suggest that, with work on it, we can intelligently balance our awareness and attention to bring ourselves into the ideal state for playing music. The 'ideal state', when musicians are going to give something their attention, is 'a spotlight on a well-lit stage'. Then we can remain truly present.> It is difficult to breathe properly if your eyes are overfocused or darting about from point to point. If you fix your eyes and stare, it usually means you are holding or restricting your breath. If you are bored, your eyes can become dull and breathing shallow. The state of curiosity livens up both your eyes and breathing. The eyes are involved in expressing our emotional state. Soften your eyes to improve your breathing.> We can include our peripheral vision in such a way that we are easily aware of where we are and what we are doing. We can think of this as 'panoramic vision'. This state of panoramic vision is usually the status quo if we're feeling happy, confident, and on top of the situation. If we are fearful or anxious, we tend to fix or overfocus our eyes and become less musically flexible.> There is always a trade-off between 'balance' and tension. If you hold yourself out of balance when you play, you have to use continuous muscular tension to keep yourself there without falling over. You are looking for a quite different arrangement, where you have a continuous rebalancing throughout your body that allows the greatest freedom in your standing, sitting, walking, or playing your instrument. [...]> If you are in 'balance' there will be some postural tension that is on-going and necessary [...] You will sense that core support as lightness and ease - not as effort. In balance, you will be comfortable and your coordination will be easy.> What we mean by 'balance' is an efficient use of body in relation to gravity. We are not necessarily looking for perpendicular and never for straight.> When our volitional muscles are held continuously tense (not what they're designed for), we lose sensation. [...] So in that context, we understand that to have the most accurate coordination in any activity we need to use the minimum tension. That way we experience more sensation of what we're doing, we become more alive.> If we now consider the work from the other end of the chain of reactions, we decide *we want to sense what we are doing, what we are seeing, and what we are hearing*. Our desire to prioritize sensory feedback triggers more release in our muscles because we understand, on an innate level, that less tension creates more sensation.> *The way you use your mind and body is the way you use your instrument.* It is not just that 'it has an influence on the way you use your instrument'. So it is, in our opinion, vital to understand that, *your instrumental technique is the way you use your mind and body*.

A great option for musicians to introduce themselves to Alexander Technique. In tandem with AT lessons, these helped me improve the physical elements of my musicianship significantly.

Very helpful book to use in companion to Alexander Technique private classes

This book will help you anyone achieve their goals. It is especially helpful for musicians. Even if you have only had one or two sessions with and Alexander teacher you will gain by reading this.

Great book but did have some typos.

Good for ANYONE not just musicians

I had to buy this for class. The material was relevant and relatively easy to follow.

Clearly written from a fund of experience and the best available resources. A model for use in Conservatory and academic organizations. Highly recommended.

Really useful and insightful book for all musicians. It’s especially useful if you have had or are having Alexander lessons. Even if not, you can pick up a lot of good tips. Strongly recommended.

I’m learning Alexander Technique. The book is well written and easy to be understood.

This book is a fantastic guide to Alexander Technique. It's written in plain and clear language that makes the ideas and exercises accessible to those just starting out with the technique and also insightful for more advanced students. The layout is well organized and makes it easy to find and focus on those areas of the technique that you are most interested in. I particularly like the quotes and anecdotes from actual students. They take you along with them on their exploration of the technique and address many of the common challenges and questions that I faced.

I read a book of the Alexander Techinique for the pianists before which was really easy for understanding, and follow. This one for the musicians of the other insruments, was a little bit more dofficult to follow.

great book