¶ … Perfect Wrong Notes How can you learn to play a musical instrument by reading a book, and such a relatively short book as William Westney's The Perfect Wrong Notes? How can you learn to play all instruments, moreover, by simply reading a single book, such as Westney's, which gives predominance to the piano, but not to the exclusion of all other instruments, or even to simple music appreciation? True, reading The Perfect Wrong Notes makes no such promise -- it is no substitute for the long and arduous methodology of practicing the musical implement of one's desire and of becoming inculcated in the technical aspects of musical theory and learning how to manipulate one's instrument. Yet the text does provide a philosophical and intellectual basis of praxis for practitioners of music, neophytes and elders alike, regardless of what instrument one plays, or even if one pursues an instrument at all.

Westney ultimately provides a liberating text for musical performers of all levels. He suggests that regaining a sense of childlike intuition and free play in music, as in all the arts, is crucial to true creativity and remains the fullest source of musical excellence. (Westney, p.20) One must feel the image or "feelmage," as well as simply play notes in both performance and practice. (Westney, pp. 88-90) And one must break down the walls between enjoyment, practice, and performance, until all three elements are seamlessly intertwined in one's emotive fabric as a musician, performer,...

Get back to the magic of enjoyment that a child enjoys, and one's own professional music playing becomes magical. (Westney, p.19) In other words, instead of pursuing perfection at all costs, William Westney suggests that playing with a free, open, and almost Zen-like spirit and ethos is the best way to learn an instrument. Westney believes in 'happy accidents' in terms of playing notes in performance and practice -- not only can one learn from one's musical mistakes and become a more competent musician, but allowing one's self to make mistakes can be freeing and liberating to the soul, and even create a greater and imperfect beauty of its own.
Also, observing, regaining and participating in the spontaneity of children through the act of spiritual rejuvenation allows for a joy in one's playing. Spontaneity is sadly in many competent adults' methods of playing their instruments. The book encourages children to keep their attitudes towards their playing throughout their musical lives and attempts to connect even professional musicians to their original, visceral childhood selves and enjoyment of music. "Toddlers and performing artists," states Westney, both have a common characteristic. They share a similar capacity for what he calls "open involvement" -- of living in the musical moment, rather than planning ahead,…