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The Perfect Wrong Note: Learning to Trust Your Musical Self
(Amadeus). In this groundbreaking book, prize-winning pianist and noted educator William Westney helps readers rediscover their own path to the natural, transcendent fulfillment of making music. Teachers, professionals and students of any instrument, as well as parents and music lovers of all ages, will benefit from his unique and inspiring philosophy, expressed with clarity and immediacy. Award-wiining auther, William Westney, offers healthy alternatives for lifelong learning and suggests significant change in the way music is taught. For example, playing a wrong note can be constructive, useful, even enlightening. The energetic creator of the acclaimed Un-Master Class workshop also explores the special potential of group work, outlining the basics of his revelatory workshop that has transformed the music experience for participants the world over.
200 pages, Hardcover
First published October 1, 2003
89 people are currently reading
667 people want to read
About the author
William Westney
9 books4 followersWILLIAM WESTNEY holds the B.A. from Queens College (N.Y.) and a performance doctorate from the Yale School of Music, all with highest academic distinctions. He studied in Italy under a Fulbright grant. Performing credentials include top piano prize in the Geneva International Competition, top prize (and only American winner) in Radiotelevisione Italiana auditions, recitals at New York’s Lincoln Center as well as at international venues such as the U.K (London), Denmark, Iceland, Finland, Taiwan, France, Chile, China, Singapore and Korea, throughout Italy on a U.S. State Department tour, and on NPR’s “Performance Today,” appearances as concerto soloist with such orchestras as Houston Symphony, San Antonio Symphony and l’Orchestre de la Suisse Romande, and solo recordings for Musical Heritage Society and CRI. The CRI recording, the first ever of music by futurist Leo Ornstein, was cited by Newsweek magazine as one of the “Ten Best American-Music Recordings” of the year.
Westney’s educational ideas continue to have a refreshing, invigorating impact on the musical world. Widely in demand as a workshop leader (the trailblazing “Un-Master Class”), interdisciplinary lecturer, writer, and private consultant, he was awarded the prized Certificate of Merit from the Yale School of Music Alumni Association for his innovative work as an artist/teacher. He has also received three special teaching honors at Texas Tech University – most recently the Chancellor’s Council Distinguished Teaching Award – where he is a Paul Whitfield Horn Distinguished Professor of Piano and the Browning Artist-in-Residence. The “Un-Master Class” was the subject of a featured New York Times article (1997), and has been held at such prominent centers as the Aspen School, Beijing Central Conservatory, Peabody Conservatory, Kennedy Center, Royal Conservatory (Toronto), Cleveland Institute, Tanglewood Institute, Royal College of Music (London), Universität für Musik und darstellende Kunst (Vienna), Royal Danish Academy of Music (Copenhagen), Sibelius Academy (Helsinki) and the Juilliard School.
He was named in 2005 to the roster of the Fulbright (Council for International Exchange of Scholars) “Senior Specialist” program, through which the U.S. government sends professors around the world for academic residencies. His first such assignment was in Seoul, Korea (November 2006). During 2009-10 he divided his time between the U.S. and Denmark, having been awarded the Hans Christian Andersen Guest Professorship at the University of Southern Denmark (Odense), an appointment for an interdisciplinary researcher. Westney continues to be an active participant in the Nordic Network for the Integration of Music Informatics, Performance and Aesthetics, and is a charter member of the Transdisciplinary Research Academy at Texas Tech, participating in an experimental team project that integrates performance, philosophy, bio-mechanics and neuroscience.
Schirmer Performance Editions issued William Westney’s edition, and CD recording, of piano etudes by Stephen Heller in October 2005. A second release in this series, in November 2009, consists of the Etudes op. 109 by Friedrich Burgmüller, and a third, selected Lyric Pieces by Edvard Grieg, was issued in 2013. Amadeus Press published Westney’s first book, The Perfect Wrong Note, in Fall 2003 to widespread critical acclaim. It has been published in Japanese and has sold over 30,000 copies worldwide, and is a “well-thought-out approach to music instruction to which many aspire, but which few attain” according to the Library Journal, and American Record Guide described it as “refreshing and rewarding.” Professional organizations in fields outside of music – such as photography and the culinary arts – have also invited Westney to give presentations on the book’s themes regarding problem-solving, communication and creativity. In recognition of the contribution made by The Perfect Wrong Note to the field of music teaching, in
Westney’s educational ideas continue to have a refreshing, invigorating impact on the musical world. Widely in demand as a workshop leader (the trailblazing “Un-Master Class”), interdisciplinary lecturer, writer, and private consultant, he was awarded the prized Certificate of Merit from the Yale School of Music Alumni Association for his innovative work as an artist/teacher. He has also received three special teaching honors at Texas Tech University – most recently the Chancellor’s Council Distinguished Teaching Award – where he is a Paul Whitfield Horn Distinguished Professor of Piano and the Browning Artist-in-Residence. The “Un-Master Class” was the subject of a featured New York Times article (1997), and has been held at such prominent centers as the Aspen School, Beijing Central Conservatory, Peabody Conservatory, Kennedy Center, Royal Conservatory (Toronto), Cleveland Institute, Tanglewood Institute, Royal College of Music (London), Universität für Musik und darstellende Kunst (Vienna), Royal Danish Academy of Music (Copenhagen), Sibelius Academy (Helsinki) and the Juilliard School.
He was named in 2005 to the roster of the Fulbright (Council for International Exchange of Scholars) “Senior Specialist” program, through which the U.S. government sends professors around the world for academic residencies. His first such assignment was in Seoul, Korea (November 2006). During 2009-10 he divided his time between the U.S. and Denmark, having been awarded the Hans Christian Andersen Guest Professorship at the University of Southern Denmark (Odense), an appointment for an interdisciplinary researcher. Westney continues to be an active participant in the Nordic Network for the Integration of Music Informatics, Performance and Aesthetics, and is a charter member of the Transdisciplinary Research Academy at Texas Tech, participating in an experimental team project that integrates performance, philosophy, bio-mechanics and neuroscience.
Schirmer Performance Editions issued William Westney’s edition, and CD recording, of piano etudes by Stephen Heller in October 2005. A second release in this series, in November 2009, consists of the Etudes op. 109 by Friedrich Burgmüller, and a third, selected Lyric Pieces by Edvard Grieg, was issued in 2013. Amadeus Press published Westney’s first book, The Perfect Wrong Note, in Fall 2003 to widespread critical acclaim. It has been published in Japanese and has sold over 30,000 copies worldwide, and is a “well-thought-out approach to music instruction to which many aspire, but which few attain” according to the Library Journal, and American Record Guide described it as “refreshing and rewarding.” Professional organizations in fields outside of music – such as photography and the culinary arts – have also invited Westney to give presentations on the book’s themes regarding problem-solving, communication and creativity. In recognition of the contribution made by The Perfect Wrong Note to the field of music teaching, in
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Displaying 1 - 30 of 30 reviews
November 8, 2018
This is one of the most helpful books I have found on both practicing and teaching music. The title is catching, as I was always taught to avoid mistakes at all costs. You begin a piece by practicing VERY slowly, avoiding all mistakes. You slowly increase your speed, again, at all times avoiding mistakes, until you reach the desired speed. This seems to work in the practice room, but why is it that outside the practice room, everything you thought you knew vanishes? Another result of this type of practice is an almost stilted way of playing, unless one is of the lucky few that flourish in spite of this fear of mistakes.
Obviously, Westney encourages mistakes in the classroom, not at the expense of accuracy, but with accuracy as precisely the goal. He makes a convincing case that pushing oneself and sabotaging oneself (something I also recently heard Daniil Trifonov talk about) while practicing reveals exactly where gaps in knowledge of the music lie and are the perfect learning opportunity. Knowledge is fluid, in some sense, and practice has to make room for that.
Another thing he focuses on is the physical act of playing music. He gives the example of walking. Just as one learns to walk by trial and error until the body just “gets” it, music making has a similar aspect of learning to it that I have almost completely ignored since I was a kid. I have been equating learning with memorizing notes, chord progressions, musical architecture, etc, etc. The truth is, every piece has a different physical “feel” to it, different hand positions that feel completely different from even other similar pieces in that they begin and end somewhere different. Different jumps or techniques are things the body doesn’t learn one time “for good”, but are something that have to constantly be reassessed in new contexts. This has made a huge difference in how I practice, and also how I teach. And in some ways, this physical aspect is something that cannot be taught to another. His example of “Helga” was one that I found especially enlightening:
“Helga’s odd, counterproductive arm movements had seemed vaguely familiar to me, as if I’d seen someone play like that before. Now I remembered; her famous teacher used exactly the same technique. But with one great difference: when he did it, it worked beautifully.”
If you have a musical background similar to what I have described, I can only recommend picking up this book immediately. There is a lot of food for thought.
Obviously, Westney encourages mistakes in the classroom, not at the expense of accuracy, but with accuracy as precisely the goal. He makes a convincing case that pushing oneself and sabotaging oneself (something I also recently heard Daniil Trifonov talk about) while practicing reveals exactly where gaps in knowledge of the music lie and are the perfect learning opportunity. Knowledge is fluid, in some sense, and practice has to make room for that.
Another thing he focuses on is the physical act of playing music. He gives the example of walking. Just as one learns to walk by trial and error until the body just “gets” it, music making has a similar aspect of learning to it that I have almost completely ignored since I was a kid. I have been equating learning with memorizing notes, chord progressions, musical architecture, etc, etc. The truth is, every piece has a different physical “feel” to it, different hand positions that feel completely different from even other similar pieces in that they begin and end somewhere different. Different jumps or techniques are things the body doesn’t learn one time “for good”, but are something that have to constantly be reassessed in new contexts. This has made a huge difference in how I practice, and also how I teach. And in some ways, this physical aspect is something that cannot be taught to another. His example of “Helga” was one that I found especially enlightening:
“Helga’s odd, counterproductive arm movements had seemed vaguely familiar to me, as if I’d seen someone play like that before. Now I remembered; her famous teacher used exactly the same technique. But with one great difference: when he did it, it worked beautifully.”
If you have a musical background similar to what I have described, I can only recommend picking up this book immediately. There is a lot of food for thought.
April 21, 2009
I started this book for my own practice, but quickly incorporated the ideas into my own teaching as well. This book began my informal study into physical learning and self-expression, and I am still at the very beginning of this exploration. There are a lot of problems with the way music is generally taught, which has a lot to do with the fact that many students become discouraged and quit. Returning to an exploratory and not-judgmental approach to learning is ultimately more satisfying, and more effective.
February 6, 2009
I loved this book. It's a musician's practical and psychological guide to music-making, and how to approach both the learning AND teaching of music, turning aside from approaches that exacerbate perfectionist self-criticism and celebrating approaches that free the musician to learn from and even enjoy those "juicy mistakes" in the practice room and in the performance hall. Really,in many ways,this book is applicable to life as much (and maybe more) than it is to music. It's just as great as 'The Inner Game of Tennis' or 'Full Catastrophe Living,' which I also love a lot. Great book! I'll continue to refer to it, I am sure.
February 10, 2019
Although, I have finished reading this book, it is a book that I will continue to study and reference for it is truly an important read for students and teachers alike ... and aren't we all learning and teaching? If you agree, you will enjoy this book as you can apply it to many areas in life.
Thank you, Mr. Westney!
:)
Thank you, Mr. Westney!
:)
March 4, 2009
I think the only bad part of this book is the title, which makes it sound like a self-help book. It's a lot more academic than that, and is probably more useful to music teachers than music students. It does have really fabulous suggestions for effective practicing though, minimizing frustration and time spent by paying careful attention to the specific mistakes we're making and what information the body is trying to convey through its choice of mistakes.
April 4, 2016
I had lessons once...this book holds true to the thought that music that is made naturally, not with pretense or strain, brings forth fascinating, pleasurable, worthwhile results.
I've gone back several times to re-read just to keep me on point!
I've gone back several times to re-read just to keep me on point!
May 22, 2015
This book is a game changer, read it. I feel a new freedom in my approach to practice. Westney really gets it.
August 3, 2018
I appreciated reading about William Westney's approach to music lessons. The book is meant as a counter/reaction to the common attitude in standard music lessons that mistakes are bad and to be avoided at all costs. Westney points out that learning to play an intrument is a physical thing akin to sports, and that mistakes are an inherent part of the body learning the right movements. Trying to avoid making mistakes to begin with leads to tension and tentative playing. He presents a solid overview of how to approach practicing in a fun, mindful way that helps you learn from mistakes.
While I resonated with much of what he said about how to approach learning music from a body-based, mindful perspective, I didn't feel like I was exactly the target audience for the book because I mostly improvise/compose rather than learn fixed pieces. That said, the principles behind his approach certainly still apply to my context. I think the target audience for the book is probably adults who had music lessons as children and are either professional (but perhaps have issues with tension and performance) or are wanting to return to music as adults but don't want the same experience they had as children. Music teachers could certainly benefit from the book as well.
While I resonated with much of what he said about how to approach learning music from a body-based, mindful perspective, I didn't feel like I was exactly the target audience for the book because I mostly improvise/compose rather than learn fixed pieces. That said, the principles behind his approach certainly still apply to my context. I think the target audience for the book is probably adults who had music lessons as children and are either professional (but perhaps have issues with tension and performance) or are wanting to return to music as adults but don't want the same experience they had as children. Music teachers could certainly benefit from the book as well.
December 21, 2022
The Perfect Wrong Note: Learning to Trust Your Musical Self is an incredible sequence of holistic wisdom. The teachings presented promote a shift in how you practice, play, and perform your instrument and it doesn't stop there.
I believe that if integrated deeply enough, these principles can be applied to just about anything else in life. The whole notion of embracing honest mistakes and working from them instead of around them is paradigm shifting. At the end of the day it simply makes sense and that's how I feel having started integrating these pieces of advice.
I did find myself highlighting many passages and phrases throughout. And I do see myself going back to refresh certain excerpts. I hope that for anyone else who happens to stumble across this book, they find as much relevance as I did.
The only chapter that started loosing my attention was that mentioning the workshops and Un-Master classes. Perhaps that will become more in-line with my piano journey as time goes on. For now though, I will embrace and extrapolate from as many "juicy mistakes" as possible.
Thank you,
Five stars *****
I believe that if integrated deeply enough, these principles can be applied to just about anything else in life. The whole notion of embracing honest mistakes and working from them instead of around them is paradigm shifting. At the end of the day it simply makes sense and that's how I feel having started integrating these pieces of advice.
I did find myself highlighting many passages and phrases throughout. And I do see myself going back to refresh certain excerpts. I hope that for anyone else who happens to stumble across this book, they find as much relevance as I did.
The only chapter that started loosing my attention was that mentioning the workshops and Un-Master classes. Perhaps that will become more in-line with my piano journey as time goes on. For now though, I will embrace and extrapolate from as many "juicy mistakes" as possible.
Thank you,
Five stars *****
December 1, 2021
The title of the book is very thought provoking, especially to a musician. Westney talks about the physicality of music, and how master musicians will respond to music similarly to how young kids do, where they use their entire body. He also talks about the importance of making mistakes in the classroom.
I really enjoyed the book. It was very interesting to read and was interesting to see Westney's experiences. One thing I particularly found interesting was the way he talked about feel, and how different music has a different feel. The book, however, is more directed towards music teachers, as opposed to aspiring musicians or music students. I liked how he compared learning to play an instrument to being on a sports team. Mistakes are going to happen during practice and the people you're practicing with will probably notice. I would recommend this to a friend if they enjoyed this style of book or were going to be a music teacher. Overall I give it a 4.5/5
I really enjoyed the book. It was very interesting to read and was interesting to see Westney's experiences. One thing I particularly found interesting was the way he talked about feel, and how different music has a different feel. The book, however, is more directed towards music teachers, as opposed to aspiring musicians or music students. I liked how he compared learning to play an instrument to being on a sports team. Mistakes are going to happen during practice and the people you're practicing with will probably notice. I would recommend this to a friend if they enjoyed this style of book or were going to be a music teacher. Overall I give it a 4.5/5
January 20, 2018
I was afraid this would be a touchy-feely self-help book, but I picked it up as a nervous beginning piano student and found that it's a delightful exploration of how we interact with music, especially as students of any musical instrument or the voice. Westney helps us think productively about our stumbling efforts to get the beautiful sounds in our heads to express themselves physically and to find joy doing so. For example, here's how to approach the dreaded piano lesson: roll up your sleeves, plunge in, and think, "What can I learn today?" Basically, we need to think of our music lessons not as performances but as interesting experiments in figuring out how to do something new. My favorite quote involved a violin student in his 80s: He awoke each day "happy to know I have so much to learn today."
March 25, 2019
Giving ourselves permission to discover artistry and vitality
This is a great challenge to musicians of any instrument to free themselves to make their music performance have life. Rather than restrain ourselves to find perfection and artistry, allow ourselves to shed the shackles of perfectionism and be willing to take a chance, even if that means a dreaded wrong note on the road to artistry. A relatively short read that may revolutionize your performance and teaching.
This is a great challenge to musicians of any instrument to free themselves to make their music performance have life. Rather than restrain ourselves to find perfection and artistry, allow ourselves to shed the shackles of perfectionism and be willing to take a chance, even if that means a dreaded wrong note on the road to artistry. A relatively short read that may revolutionize your performance and teaching.
June 2, 2019
Essential reading for any pianist of any level--gets right the the heart of those of us who are drawn to these monster instruments and speaks to the crop of brain activity that actually impedes us as we filter everything through narratives of (nerve-driven) failure. "Don't believe everything you think". The pianist's experience of playing is very different from the audience's experience.
July 5, 2019
If I were still teaching piano regularly I would make parts or all of this book.required reading for parents and older students. I wish I had had this insight from the beginning and especially in college. Even though I am mostly a recreational player now, I still can't wait to try some of these techniques and ideas when learning new pieces.
April 17, 2019
If you are a teacher at any level, you need to go read this book. Even if you are a performer on some level, not even a musician, it will the change the way you think about practicing and performing.
January 26, 2020
This isn’t a boring self help book. Every chapter is full of life and energy, making it a pleasure to read. It doesn’t matter your skill level in music—read this book. Your practicing will never be the same.
December 9, 2023
Reading this book inspires you to approach practising in a new way, with a sense of adventure and relaxation. Westney’s passion, wisdom, and compassion are evident on every page. If you’re a musician, read it.
January 10, 2020
Interesting read. Commends a self-forgiving approach to music and musical practice. Leave the stress, keep the joy. Easier said than done - some ideas on keeping this in mind.
September 7, 2023
A fascinating exploration of eating assumptions that most of us take for granted
September 25, 2024
"The Perfect Wrong Note" is an insightful and refreshing take on music education and practice by pianist and teacher William Westney. This book challenges conventional wisdom about musical perfection and offers a more holistic, intuitive approach to learning and performing music.
Westney's central thesis is that embracing "wrong" notes and mistakes can actually lead to more authentic, expressive, and ultimately better musicianship. He argues that the fear of making mistakes often holds musicians back from reaching their full potential and enjoying their craft.
The book is particularly strong in its critique of traditional music education methods. Westney questions the emphasis on rote learning and rigid technique, suggesting instead that musicians should focus on developing a deeper connection with their innate musicality and physical responses to sound.
One of the book's strengths is Westney's ability to blend practical advice with philosophical musings on the nature of music and creativity. He offers concrete exercises and techniques for improving practice sessions, but also delves into more abstract concepts like the role of intuition in music-making.
Westney's writing style is engaging and accessible, making complex ideas easy to grasp for both professional musicians and amateur enthusiasts. He uses anecdotes from his own experiences as a performer and teacher to illustrate his points effectively.
While the book is primarily focused on classical music, many of its principles can be applied to other genres. However, some readers might find that certain sections are less relevant to their specific musical interests.
"The Perfect Wrong Note" is not just about music; it's about learning, creativity, and self-trust. Westney's ideas on embracing imperfection and trusting one's instincts can be valuable in many areas of life beyond music.
Overall, this book offers a thought-provoking and potentially transformative approach to music education and practice. It's a must-read for music teachers, students, and anyone interested in exploring a more holistic and joyful approach to musicianship.
Westney's central thesis is that embracing "wrong" notes and mistakes can actually lead to more authentic, expressive, and ultimately better musicianship. He argues that the fear of making mistakes often holds musicians back from reaching their full potential and enjoying their craft.
The book is particularly strong in its critique of traditional music education methods. Westney questions the emphasis on rote learning and rigid technique, suggesting instead that musicians should focus on developing a deeper connection with their innate musicality and physical responses to sound.
One of the book's strengths is Westney's ability to blend practical advice with philosophical musings on the nature of music and creativity. He offers concrete exercises and techniques for improving practice sessions, but also delves into more abstract concepts like the role of intuition in music-making.
Westney's writing style is engaging and accessible, making complex ideas easy to grasp for both professional musicians and amateur enthusiasts. He uses anecdotes from his own experiences as a performer and teacher to illustrate his points effectively.
While the book is primarily focused on classical music, many of its principles can be applied to other genres. However, some readers might find that certain sections are less relevant to their specific musical interests.
"The Perfect Wrong Note" is not just about music; it's about learning, creativity, and self-trust. Westney's ideas on embracing imperfection and trusting one's instincts can be valuable in many areas of life beyond music.
Overall, this book offers a thought-provoking and potentially transformative approach to music education and practice. It's a must-read for music teachers, students, and anyone interested in exploring a more holistic and joyful approach to musicianship.
April 1, 2013
A mind-clearing, thought-provoking look at how to make an honest, positive connection with music and how to come to terms with ourselves when we sit down to embark on that most humbling of experiences...practicing a musical instrument.
The perfect book to pick up when you feel that you are starting to lose the joy in music making and are instead dreading the thought of practicing. An important addition to the library of any musician or music teacher (of which i am both).
The perfect book to pick up when you feel that you are starting to lose the joy in music making and are instead dreading the thought of practicing. An important addition to the library of any musician or music teacher (of which i am both).
Want to read
October 12, 2007I tutor regularly, and this book gave me a new perspective on how people learn and teach. I wasn't all the way through when the new Harry Potter came out. Me being a big dork, I put this one down to start the new book. I've been distracted since but I definatly want to finish this one.
April 1, 2010
Interesting. I'm looking for and reading books on music practice and music theory. This one explores some of the more psychological aspects of music performance and practice. It has brought the "Delacroix' method to my attention.
October 24, 2015
This book is on my reading list from my Juilliard piano class. I only read last two chapters: it's not about academic teaching and philosophy of self practice. Amateurs are mucks lovers with maturity and experience, sense of change and understanding of patience. Let it go and let it happen.
January 21, 2020
Straightforward, pragmatic and inspirational. I will return to this book regularly, I am sure. What a relief to read suggestions with no BS attached - just viable, solid advice. Not at all stuffy and in recognition that "hey folks, music is sposed to be fun, remember?"
October 24, 2007
Very illuminating, even after so many years in the profession.
March 6, 2012
An extremely helpful book for pianists, especially those who have lost their love for music in perfectionism. Very helpful for restoring joy to practicing.
January 21, 2016
An insightful rethinking of music lessons, practice time, and masterclasses with the goal of more musicality, enjoyment, and healthy playing.
November 19, 2012
Good book, not just for music, but for other things.
If we want do our best, please feel our heart, let our body know what we want, go ahead, even in a mistake.
If we want do our best, please feel our heart, let our body know what we want, go ahead, even in a mistake.
January 2, 2015
So so so so helpful as a musician and music teacher--reminds me that the real reason I play is for the music not for the competition.
Displaying 1 - 30 of 30 reviews