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Date: Sat, 07 Jul 2001 11:00:51 -0500
From: Mike Will
Subject: Kenny Werner (was re Where does you music come from)

Xavier wrote:

"This sounds a lot like what Kenny Werner says in his book "Effortless
Mastery" (usual disclaimers).
Most of the book deals with getting rid of the ego while playing. I have
not yet finished the book but it's definitely interesting.
Anybody out there who read this book and want to share something about
it ?"

Yeah, I read it after Larry Iceman Eisenberg recommended it. Very worth
reading. Haven't gotten through the CD yet..

One of the key points I picked up is.. love every sound you make. Wrong
note? Love it for itself. I tried keeping that in mind for a while
(then forgot.. thanks for reminding me!) and it really seemed to work
for me. As Larry and I have posted about in the past, there is a kind of
"feedback loop" between listening and playing. If you're actively
loving your sound, you're actively listening to it, and I think the
sound feeds back into your body--if you get out of the way--and helps
your body produce a better sound. You love the sound, it loves you back
and gives great results.

I think part of the lesson from Werner's book is.. get your technique
down well enough that you can get your body (and mind?) out of the way
and let the music just flow. When I'm practicing well, that's the state
I get into. The music just flows out of me, without conscious
guidance. I'll be daydreaming, thinking of my day or plans or
relationships, with part of me listening in a very much detached manner
to the music flowing through me and my instrument (harp, piano, guitar).

Sometimes I get distracted from this state and try to "drive" the music,
and most often the music suffers some as a result. If I'm practicing
well, I'll be able to think without interrupting the music, apply some
music theory principles, and move the music to a different feel
consistent with what I know about musical relationships, and keep the
flow going. For me, nothing in music is as satisfying as my getting out
of the way and letting the music play me. In many ways, that's a prime
motivator for me playing music.

Another related aspect of Werner's advice is to NOT be competitive, to
NOT be worried about how you sound or what you are doing, to be
confident and full of love. And in that way, you can do better than
those who are trying to be impressive.

Hopefully Iceman will add some more of his insights to this. It's a
great book for musicians, but requires an element of "faith" that if you
follow his suggestions as to state of mind it will improve your music.

Mike Will