Author: Green/Gallwey
225 pages
Copyright © 1986
Published by Doubleday
An unsolicited review from the forums:
This is a book based on "The Inner Game of Tennis" by Tim Galway. The author, Barry Green, a bassist, read "The Inner game Of Tennis" and contacted Mr. Galway about co-writing a version tailored for musicians. It deals with the noise and interference in our minds that disrupt our ability to perform at our best.
At first I found the book inspiring, especially the formula "P=(p-i)" (Performance = potential-interference) If we can remove, limit or manage interference, we will perform better. However, with all the great information and ideas in the book, I've had to force myself to finish it. I really felt the entire book could have been condensed to about 30 pages...but then again I've never been much of a reader. I may give "The Inner Game of Tennis" a read too:)
By the best-selling co-author of Inner Tennis, here's a book designed to help musicians overcome obstacles, help improve concentration, and reduce nervousness, allowing them to reach new levels of performing excellence and musical artistry.
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Volume 1 of this educational jazz piano book contains 15 jazz piano exercises, tricks, and other interesting jazz piano techniques, voicings, grooves, and ideas Scot Ranney enjoys playing.
Volume 2 has 14 jazz piano exercises and tricks of the trade, and quite a bit of it is Calypso jazz piano related material, including some Monty Alexander and Michel Camilo style grooves. Jazz piano education is through the ears, but books like this can help.
Volume 3 contains 12 jazz piano exercises and explorations by the acclaimed jazz piano educator, pianist, author, and recording artist Tim Richards.
Tim wrote the well known "Exploring Jazz Piano" and "Improvising Blues Piano" books and has several others to his name.
Volume 4 is by Jeff Brent, a jazz pianist, composer, teacher, and author of "Modalogy" and other acclaimed jazz theory and education books. In this book Jeff shares detailed analysis of transcriptions of live performances. He covers everything from the shape of the songs to the tricks and licks he uses in improvised lines to the ideas behind his lush chord voicings.
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