What does 'Playing from within' mean?
‘Playing from Within’ is a methodology created by Marco Loredo that uses the body, awareness and freedom of movement to learn, teach and play music.
His starting point is simple yet profound: many problems encountered when playing cannot be explained by technique alone, but by how the body, attention, emotions and nervous system have learned to organise themselves in relation to the instrument or voice.
From this perspective, studying music is about more than just repetition, correction and control. Rather, it is about developing a clearer relationship with movement, breathing, perception, phrasing and how the body learns.
Why Is Such a Methodology Necessary?
In many music education programmes, the body is treated as something that must obey. Notes, fingerings, breathing and posture are corrected, but the entire system that produces sound is rarely examined in sufficient depth.
This can lead musicians to practise for years while feeling stressed and afraid of making mistakes or overexerting themselves. They may also feel disconnected from their bodies, without understanding why certain problems persist despite more practice.
'Playing from Within' was created to bridge the gap between technique, the body and learning. It is a space where the musical gesture is not viewed as an isolated action, but as an integrated experience.
It's not about letting everything go. It's about eliminating the effort that isn't helpful.
Fundamentals of the Methodology
This methodology draws on a variety of disciplines to provide a more comprehensive understanding of musical practice.
Biomechanics
Observe how the body organises itself to produce sound, distribute effort and sustain movement, avoiding unnecessary strain.
Neuroplasticity
Understand that the nervous system learns through repetition, including habits related to tension, fear, control or freedom.
Body Awareness
Develop the ability to identify where a movement is initiated, where interference occurs and what needs to be reorganised.
Breathing
It recognises that breathing is an integral part of musical expression and not merely a physical function that is separate from the performance.
Emotion and motor control
Consider how fear, haste, vigilance and trust can affect coordination and the body's response.
inclusive music education
All of the following are covered within a single learning practice: technique, body, listening, phrasing, body memory and musicality.
Working Principles
These principles inform how musical expression is observed, studied and reorganised.
Observe before correcting.
In order to change a gesture, we first need to understand how it is organised.
Coordinate rather than control.
Excessive control can lead to rigidity, whereas coordination enables the system to function more smoothly.
Reduce interference
It's not about 'letting everything slide', but rather about eliminating effort that achieves nothing.
Studying with Clarity
Repetition only brings about change if the body is able to perceive, adjust to and integrate it.
Integrating the body and music.
A gesture cannot be practised in isolation from phrasing, sound, breathing and musical intention.
Building a movement without violence
A musical discipline can be rigorous without being punitive.
How We Work
Our work begins with a detailed observation of how you play, sing, study or teach. There is no one-size-fits-all approach; we analyse your body, breathing, focus, phrasing and relationship with your instrument or voice.
From there, we look for clearer conditions to allow the system to reorganise itself. This sometimes involves slowing down, observing the beginning of the movement, working on small sections, checking one’s breathing, changing one’s approach to mistakes or reconstructing a phrase from a broader musical perspective.
- We will listen to your story and your specific needs.
- Pay attention to how your body responds when you play an instrument or sing.
- Identify any unnecessary stress or interference.
- Review your breathing, expression, phrasing and focus.
- Develop clearer study strategies.
- Integrate the changes into your actual musical practice.
Who is this methodology aimed at?
'Playing from Within' can be adapted for different profiles, skill levels and instruments, while maintaining a focus on pedagogy, physicality and music.
What this methodology does not promise:
Playing from within does not offer instant solutions or a universal cure for all playing-related problems.
It does not replace medical, neurological, psychological or physical therapy care when such care is necessary.
A responsible practice
This work is approached from pedagogical, physical and musical perspectives. The aim is to help participants observe, understand and reorganise their relationship with their body, movement, instrument, voice and learning process.
The most responsible course of action when a case requires specialised care is to recognise this and work collaboratively or refer the patient as appropriate.
The aim of Playing from Within
This methodology aims to help musicians develop a more mindful and efficient practice, free from unnecessary tension. It encourages musicians to view their body as an essential part of the musical learning process, rather than an obstacle.
The goal is not to play perfectly, but rather to establish a clearer connection between the body, breathing, movement, emotion and musical sense.
Playing from within means learning to inhabit the musical gesture rather than merely performing it.
If you'd like to take a closer look at your study, play or teaching methods, let's talk.
We can work with you, your instrument and your voice to develop a clearer, more sustainable and mindful practice that meets your specific needs.