Workbook Complete this Workbook as you watch

William Westney’s Video Interview

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Question 1 Write down William’s basic philosophy. [02:00]

Question 2 What are the physical signs that tell YOU that you are nervous? Write down all you can think of below.

Question 3 We have the same physical signs when we are ______________________________?

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One of the things about performing”

William Westney

is that we never knowwhat is going to happen. ”

Question 4 Complete the following sentence [06:05]:

Feelings are a _______________ that _______________ and _______________ .

Question 5 Rather than focussing in on ourselves what does William suggest we do? [07:00]

Question 6 William asks what’s the worst things that could happen? What’s this fear about? [08:54] STOP the video, put on a timer for 3 minutes and free write your thoughts on this.

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Track your feelings rather than” William Westney

clinging to them & letting them solidify.”“

MEMORY

William identifies memory as a major cause of anxiety. He outlines a sequence that we will all be familiar with:

- We have a memory lapse or make a mistake - We say to ourselves ‘but I know this piece so well’ - ‘There must be something wrong with me to get it wrong like that’

Question 7 List 3 ways of practising that are not advisable [10:30].

1.

2.

3.

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When we play to others William Westney

we are accountable. ”

Question 8 What are the problems of repeating pieces over and over? [11:45]

1.

2.

VISUALISATION

Question 9 Visualisation forces us to retrieve things in ways that are completely different in terms of brain function. [14:15] Now STOP the video. Sit still for 1 minute and visualise the opening bars of a piece you are learning or can play. Write down any words that describe how that felt.

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The only thing that will tell me if I know it

William Westney

is if I can retrieve it under pressure.

”

Question 10 Why does William say this is scary? [14:30]

Question 11 How does visualisation change your life?

Question 12 Sally describes her experience of visualisation. [17:30] Make sure you join in the January Challenge! Click here to sign up for the January Challenge before Friday 5 January

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Visualisation is a very energised

William Westney

& intensive mental exercise.

”

Question 13 In performances what are some of the positive and negative changes that occur because other people are there? [19:55]

THE PROCESS

Question 14 William talks about the problems of arriving at the result (playing through a piece) far too quickly. [20:55] Note down any words that jump out at you.

Question 15 Sally and William discuss what teachers can do to help pupils be more robust in their practise. They take as their example a Mozart Sonatina. Answer the following questions:

Alberti Bass

What is the desired result?

What is typical practice?

What is robust practice?

Shapely melody

What is the desired result?

What is typical practice?

What is robust practice?

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MAINTENANCE PRACTICE

Question 16 What are the three features of Maintenance Practice? [24:55]

1

2

3

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rambunctious adjective informal

uncontrollably exuberant, boisterous

Making friends with the notes William Westney ”

Question 17 What does trying to do the same thing everyday lead to? [27:30]

Question 18 Sally outlines why this approach can be difficult to handle in lessons. What does William suggest?

Question 19 How can we physicalise quiet passages? [32:27]

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Knowing a piece is a fluid process -

William Westneyit is different every single day.

“

The practice room is for taking things apart

William Westney

& doing CRAZY stuff!

”

Question 20 What does William say to his pupils and encourage them to do? [32:47]

Question 21 How long should healthy (maintenance) practice continue for? [35:00] Tick the correct sentence:

□ Only needed at the start

□ Until the notes are known

□ Continuously

70/30%

Question 22 Answer the following questions [36:00]:

What kind of practice should we do 70% of the time? ____________________

What kind of practice should we do 30% of the time? ____________________

Question 23 What are the barriers to 70/30% approach to practise? [38:35]

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Question 24 What is the sentence that hovers in the air for William? [40:14]

Question 25 What happens when pupils try to please the teacher all the time? [40:45]

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It’s a beautiful, mindfulness practice

William Westney

,

that’s the truth of what’s going on,,

”

Use this page to write down as many of William’s fabulous words of wisdom as you can.

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Words of wisdom . . .

ABOUT WILLIAM William 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

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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 2012 Music Teachers National Association honored William Westney with the “Frances Clark Keyboard Pedagogy Award.”

Website www.williamwestney.com

Book The Perfect Wrong Note: Learning to Trust Your Musical Self - click here

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