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| Indirect Procedures: A Musician's Guide to the Alexander Technique (Clarendon Paperbacks) | 
 enlarge | Author: Pedro De Alcantara
Publisher: Oxford University Press, USA
Category: Book
List Price: $55.00
Buy New: $35.99
You Save: $19.01 (35%)
New (17) Used (15) from $24.50
Avg. Customer Rating:  8 reviews
Sales Rank: 220711
Media: Paperback
Number Of Items: 1
Pages: 336
Shipping Weight (lbs): 0.5
Dimensions (in): 8.6 x 5.6 x 0.9
ISBN: 0198165692
Dewey Decimal Number: 615.82
EAN: 9780198165699
ASIN: 0198165692
Publication Date: April 24, 1997
Availability: Usually ships in 1-2 business days
Condition: Brand New. Delivery is usually 5 - 8 working days from order, International is by Royal Mail Airmail
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Product Description
Written by an experienced professional musician and teacher of the Alexander Technique, this volume is the first to deal specifically with the application of the Technique to music-making. Introducing the musician to the principles and procedures evolved by F. M. Alexander (1869-1955), the book contains practical advice related to all areas of musical activity, from technique, sound production, and interpretation, to daily practice, rehearsal routines, and the mitigating of stage fright and health problems.
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| Customer Reviews: Read 3 more reviews...
 A must-read for every musician November 16, 2007
1 out of 1 found this review helpful
This is a truly amazing book. I bring this book everywhere I go and refer to it so much that it's almost falling apart. This is an absolute must-read, must-own book for any musician or teacher who is serious about the mind/body music connection.
 Good for an Alexander Technique book August 30, 2007
6 out of 7 found this review helpful
My experience with the Alexander Technique and its application to music playing is that it can help remove certain bad habits acquired through improper training. This is where AT can be limited in helping because you can remove bad habits but that doesn't necessarily leave you with the right technique for playing music and AT teachers aren't usually trained in music. These bad habits are usually symptoms of poor technique so first and foremost it is important that the player knows what the right technique is. This is why I find it important that if you do look for a teacher, get one that knows your instrument. You can have an idea of this account by reading an article by Nelly Ben-Or, pianist and AT teacher, called "Conceptions & Misconceptions" found in the "Direction Journal" and/or Viven Mackie's book "Just play naturally".
So now to the book. The book is an excellent Alexander Technique book. It describes it in a very clear way and gives good insights in how to apply it. But on the other hand I gave it 3 stars because a myth has been created over the Technique and that it can solve, almost like a panacea, musicians' issues with instrument playing. A reviewer before talked about the fact that the author "deifies" FM Alexander but that seems to be the case in most AT books. Many professionals of the area aren't aware of the limitations of the Technique in music playing because they have never played an instrument to its full potential. You can read more about these myths and half-truths in Ben-Or's article. Vivien Mackie herself has a DVD masterclass available from the AT community where she says that "Through intelligent training of something other than the head and neck you can achieve the use". The "head and neck" is what they call the Primary Control through which if you get it in the right "balance" everything will do itself right. If that was true, then it would be reasonable to say that any AT teacher could play an instrument flawlessly, which is not the case because they'd still have to go through proper music training. If you read Mackie's book (which I recommend reading before de Alcantara's), you'll see that she talks much more about her fingers' and ears' sensitivity more than anything else. Her learning with Casals was more about learning to do the right thing instead of getting rid of the wrong things. This is logically obvious. If you do the right thing, then you don't have to undo the wrong things acquired through poor technique.
Not just for Cellists July 11, 2004
6 out of 6 found this review helpful
This book is an excellent and precise treatment of the Alexander Technique. Although his examples are primarily for Cellists, Pianists, and singers, there's much that would apply to any musician. Occasionally academic, this book is well worth the patience. A moderate number of pictures are present.
Stiff-necked October 23, 2002
0 out of 5 found this review helpful
My teacher recommended this book as The Book To Read if I wanted to read a book about Alexander Technique as I was taking lessons. Obviously it's a book that works wonderfully for many people. I was disappointed, though. I found the book rigid and very dismissive of approaches the author didn't absolutely agree with, and obsessed with bolstering itself with citations and quotes. It almost deifies Alexander, and talks very specifically of positions etc. The impression I have of Alexander Technique from my lessons is completely different: it's about being open rather than closed to alternatives.And yes, I had heard that Alexander lessons are infinitely better than books. I absolutely agree after reading this.
Musicians Read This! June 12, 2001
32 out of 34 found this review helpful
Indirect Procedures stands by itself in the world of Alexander Technique books. Written by a cellist and Alexander teacher, it is the only book I know of exclusively devoted to musicians' issues. At the same time, it is a comprehensive introduction to the principles and practice of Alexander Technique with some photo illustrations. One caveat - Indirect Procedures is not light reading and this certainly sets it apart from most self-improvement books. It is thorough and detailed and very serious.This book addresses virtually all of the habits of muscle use that can lead muscians down the road to injuries and limited playing and performing. Beginning with my conservatory training 30 years ago, I learned that the most important part of making music was "delivering the goods." Mastering repertoire was the name of the game. If my arms hurt or my wrists ached, that was just part of being a musician. It was inevitable. Now we know it isn't. And De Alcantara's book shows musicians ways to understand movement, habit, and posture that can transform music-making from a high stress and often painful event back to the joy that it was when they began playing. This book is particularly useful for musicians who don't have access to an Alexander teacher and would like to incorporate some of the technique into their approach to music. It is also an aid to those who are working with an Alexander teacher who is less experienced with musicians. The book is dry and detailed but absolutely invaluable if you really want to make Alexander Technique a serious part of your musical life.
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