I don’t expect anyone to care about the Alexander Technique- I expect them to care about THIS
I don’t expect anyone to care about the Alexander Technique- I expect them to care about THIS*:
“I think that part of practicing is great because it unites what you want to do in engineering, as in technically, where do you put your arms and your fingers and your body—micro movements—with that desire and the feeling of what it needs to be. That’s a wonderful process because it’s a constant of going toward something bigger than the notes and yourself, and very lovingly so.
Whenever I catch myself playing something that sounds mechanical but dead, it’s because either I’m not paying attention or it’s something difficult that I haven’t solved. Sort of like a physicality issue that, you know, sudden tension, so I freeze up and become more internalized, so I can’t love it. Loving something implies going outside yourself and fear means retreating into yourself. […]
When someone performs, you want that person to be open and not to have any barriers. Any barriers that are set up between the performer and the audience actually impedes the communication of what needs to be.”
*The Alexander Technique is a powerful tool to achieve the above. That is what I really teach.
Yo-Yo Ma on Intonation, Practice, and the Role of Music in Our Lives