The perfect wrong notes

¶ … 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, human being, and appreciator of music.

This book attempts to encourage readers to trust their spontaneous musical selves, in the words of the author. 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, anticipating the right note and playing the wrong note because of tension. (Westney, p.16)

Thus, does that mean that one should simply bang away, and not pursue perfection? Not quite -- Westney suggests a paradox, namely that when a musician is not 'hung up' on perfectionism, he or she plays the designated notes most perfectly. Westney's book thus integrates philosophy, even a bit of Buddhist religion, with the psychology of letting go of one's hang-ups. Consider, he suggests, the way that a child can simply enjoy music, and instinctively trusts him or herself to respond in appropriate kinesthetic ways to the music, happy and sad, he or she hears on a stereo in the living room. If only one could take the trust one felt in one's musical self, when one was dancing to the first Winnie the Pooh stereo one owned, and bring that same trust to performance -- the best musical performers on the stage today, Westney suggests, have the psychological as well as the musical capability to do so.

Far too often, however, students in the later stages of their musical life, lose their musical capacity because of what should help them most, namely in the form of music lessons. Even adolescents suffer some of these consequences, when identified as prodigies too soon, and musical prodigies are being exhibited earlier and earlier on the concert state. Such so-called prodigies have "overburdened" brains that feel "heavy" from the weight of knowledge and the rote of musical drills are instilled in the child. (Westney, p.17) "Self-control, meticulousness, and obedience" rather than enjoyment, even fostering of the student's innate love and talent of music is stressed in their lessons, to the detriment of the emotional quality of their music.