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Effortless Mastery: Liberating the Master Musician Within
Playing music should be as simple and natural as drawing a breath, yet most musicians are hindered by self-consciousness, apprehension, self-doubt, and stress. Before we can truly express our inner self, we must first learn to be at peace and overcome the distractions that can make performance difficult. Kenny's remarkable work deals directly with these hindrances, and presents ways to let our natural creative powers flow freely with minimal stress and effort. Includes inspiring recordings of meditations designed to initiate positive thought. This book has become a favorite of many musicians who credit it with changing their lives! Many are so impressed that they buy copies for their musician friends as gifts. Easy, effortless reading paperback.
Book with online audio access (ISBN 156224003X)
Effortless Mastery is a book that the world really needs. It was not written by a philosopher or an academic. Kenny Werner, is one of my favorite pianists I've ever had the pleasure of working with, and in my opinion one of the best pianists living on the planet. Kenny teaches that 'The joy of practicing is concentration. The joy of playing is liberation.' Effortless Mastery teaches the seeker how to achieve both at the highest levels. It also shows how to practice effectively, promoting real growth and how to play and perform free from fear and self-judgment. I highly recommend this book. ---Quincy Jones
Book with online audio access (ISBN 156224003X)
Effortless Mastery is a book that the world really needs. It was not written by a philosopher or an academic. Kenny Werner, is one of my favorite pianists I've ever had the pleasure of working with, and in my opinion one of the best pianists living on the planet. Kenny teaches that 'The joy of practicing is concentration. The joy of playing is liberation.' Effortless Mastery teaches the seeker how to achieve both at the highest levels. It also shows how to practice effectively, promoting real growth and how to play and perform free from fear and self-judgment. I highly recommend this book. ---Quincy Jones
192 pages, Paperback
First published January 1, 1996
About the author
Kenny Werner
9 books18 followersKenny Werner is an American jazz pianist, composer, and author.
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Displaying 1 - 30 of 151 reviews
April 18, 2013
As a jazz pianist, this book was a paradigm changer. Kenny Werner goes beyond chops, theory, and fashion, and focuses on what music ultimately comes down to, spiritual communion. Miles and Monk get it. Neither of them were known for chops, but both forced you to stop and listen. This book explores (among other things) the necessity of great music making to be easy. Yes, easy! If it's difficult for you, you can't let go and create. This doesn't preclude practice, it just looks at 'practice' differently.
There is so much in this book that has changed my whole approach to performing and playing, but it's not limited to musicians. We can all benefit from Werner's insight in all of our endeavors.
There are no wrong notes!
There is so much in this book that has changed my whole approach to performing and playing, but it's not limited to musicians. We can all benefit from Werner's insight in all of our endeavors.
There are no wrong notes!
June 8, 2011
A must for Musicians, but also for writers , artists , dancers ... Actually, for anyone that has a passion in life.
It's helped me more than anything , get out of the way of myself. That's an important lesson for anyone , not just musicians, to learn. Practice seems less overwhelming.
It's brought back the joy I had forgotten I had for music in all the midst of self-abuse as many of us do.
It's helped me more than anything , get out of the way of myself. That's an important lesson for anyone , not just musicians, to learn. Practice seems less overwhelming.
It's brought back the joy I had forgotten I had for music in all the midst of self-abuse as many of us do.
August 2, 2018
Still great after reading it again. I understand more of what he is saying these days and am going to apply the concepts to my life. This should be mandatory reading for jazz musicians.
August 12, 2016
Lifechanging.
But alright, I should elaborate. It's now been a month or two since I read this book. I wanted to wait at least that amount of time to really make sure the feeling that filled me during reading would stay and would transform into what the book offers. I will probably add updates later.
First, some warnings and possible negatives. The writing style is very simple and quite unrefined whereas the messages sometimes might feel clouded in newagey mumbo-jumbo. This book is not to be read by anyone who is skeptic about its messages and wants to see whether they will be convinced. They won't be. Such person will see the book as a category:popular-self-help "every note is beautiful and - by the way - everyone is a master" hogwash and quite likely entirely miss the point(s). Such opinion would be understandable, but wrong.
(I will skip describing what the book does, others do that, and instead go through my thoughts on properly accessing the material.)
Meditation helps. The more familiar and experienced in meditation you are, the more you'll be able to truly understand the message. A great help is that the books itself comes with four audio "exercises" -meditations. But as every idea that relies on deep and careful observing of one's thought patterns, this requires a regular practice.
That's not to say you cannot simply read this book and get a lot from it. I know I did. The jam I had just after finishing it was like no other before. Not the best in terms of my playing, but a surprisingly joyful one. But I don't think this book is to be read and discarded, but rather to be re-read and studied and meditated about for months/years.
This, for me, means roughly the following:
1. Do the exercises described in the book daily, as the first thing in the morning
2. From time to time revisit the audio meditations
3. Re-read parts of the book, ideally a tiny piece a day
4. Reguarly practice good thought patterns - there are lots described in the book, e.g. going to a concert and being able to selflessly enjoy the music without the need of comparing
5. Gradually transform the way you approach playing, music, and, well, everything.
The purpose of the book is then not to inspire you to practice better, or to be happier, but, arguably, to completely rewire your brain. The author even says that - you need some brainwashing, as in your brain needs some washing. Might sound scary, but when the process leads to an eternal bliss, who'd protest. I gotta go now, leaving for my soma holiday.
By the way, if you think repeating "I am great. I am a master" is an attempt to affirm your own superiority, you're probably missing the point.
But alright, I should elaborate. It's now been a month or two since I read this book. I wanted to wait at least that amount of time to really make sure the feeling that filled me during reading would stay and would transform into what the book offers. I will probably add updates later.
First, some warnings and possible negatives. The writing style is very simple and quite unrefined whereas the messages sometimes might feel clouded in newagey mumbo-jumbo. This book is not to be read by anyone who is skeptic about its messages and wants to see whether they will be convinced. They won't be. Such person will see the book as a category:popular-self-help "every note is beautiful and - by the way - everyone is a master" hogwash and quite likely entirely miss the point(s). Such opinion would be understandable, but wrong.
(I will skip describing what the book does, others do that, and instead go through my thoughts on properly accessing the material.)
Meditation helps. The more familiar and experienced in meditation you are, the more you'll be able to truly understand the message. A great help is that the books itself comes with four audio "exercises" -meditations. But as every idea that relies on deep and careful observing of one's thought patterns, this requires a regular practice.
That's not to say you cannot simply read this book and get a lot from it. I know I did. The jam I had just after finishing it was like no other before. Not the best in terms of my playing, but a surprisingly joyful one. But I don't think this book is to be read and discarded, but rather to be re-read and studied and meditated about for months/years.
This, for me, means roughly the following:
1. Do the exercises described in the book daily, as the first thing in the morning
2. From time to time revisit the audio meditations
3. Re-read parts of the book, ideally a tiny piece a day
4. Reguarly practice good thought patterns - there are lots described in the book, e.g. going to a concert and being able to selflessly enjoy the music without the need of comparing
5. Gradually transform the way you approach playing, music, and, well, everything.
The purpose of the book is then not to inspire you to practice better, or to be happier, but, arguably, to completely rewire your brain. The author even says that - you need some brainwashing, as in your brain needs some washing. Might sound scary, but when the process leads to an eternal bliss, who'd protest. I gotta go now, leaving for my soma holiday.
By the way, if you think repeating "I am great. I am a master" is an attempt to affirm your own superiority, you're probably missing the point.
September 2, 2012
An interesting approach focusing on releasing tension and preconceptions, but so much of it is focused around accepting your playing as masterful and "the most beautiful sound I've ever heard" that it could be mis-interpreted by players who haven't properly prepared as saying "all your mistakes are just as beautiful as the notes you intended to play", ergo there's no need to practice because everything's the same.
At the same time, his advice on practicing is very good, focusing on "chipping away at your weak spots" instead of endless running through the parts of the material you find easy (which is all too easy to do). Awareness, focusing on correcting errors during practice time and releasing tension in all parts of your body that aren't required to make the notes are all great advice.
I think for someone who has done the work and has a real command of their material (which he emphasizes is compulsory) but simply isn't comfortable during public performance, this book will be a revelation. For me, it was a bit premature.
At the same time, his advice on practicing is very good, focusing on "chipping away at your weak spots" instead of endless running through the parts of the material you find easy (which is all too easy to do). Awareness, focusing on correcting errors during practice time and releasing tension in all parts of your body that aren't required to make the notes are all great advice.
I think for someone who has done the work and has a real command of their material (which he emphasizes is compulsory) but simply isn't comfortable during public performance, this book will be a revelation. For me, it was a bit premature.
August 4, 2017
Too religious / new-agey for me, but that doesn't mean it won't be helpful. I wish there was a book that took these concepts and discussed the science and psychology behind them instead of using wishy-washy spiritualism.
The lessons come down to this: surrender to the music and your training, relax while you're playing, cultivate a positive self image about yourself and your abilities. If references to a divine power bother you, substitute "subconscious" for "god". The positive affirmations are annoyingly effective. I tell myself "I'm great. I am a master." all the time and it works. I even do it if I'm out of gas during a run and it allows me to run further.
The lessons come down to this: surrender to the music and your training, relax while you're playing, cultivate a positive self image about yourself and your abilities. If references to a divine power bother you, substitute "subconscious" for "god". The positive affirmations are annoyingly effective. I tell myself "I'm great. I am a master." all the time and it works. I even do it if I'm out of gas during a run and it allows me to run further.
November 24, 2020
Müzikle ilgili ilk okumam oldu bu kitap. Yazarın düşündüğüm, yaşadığım şeylerin altını kalın kalın çizmesi, ısrarla yol göstermesi okumayı güzel bir pratiğe de dönüştürdü. Yazar, özel olarak müzik hakkında (özellikle piyano) ama genel olarak her konuya uygulayabileceğimiz beceriler sunuyor.
Müzik eğitiminde karşımıza çıkan engelleri (en önemlisi ego duvarını) nasıl atlayalım? sorusuna farklı yollarla cevaplar arıyor. Piyano başında oturup uygulayabileceğimiz meditasyonlar öğretiyor. Zaten yaptığım ama okuduktan sonra daha hissederek yaptığım pratikler oldu. Bu yüzden körün aradığı bir göz hesabı baya sevdim kitabı.
İçerikten çok bahsetmek istemiyorum ama ben yer yer kendimden geçerek yer yer sıkılarak (ısrarla tekrarlanan şeyler yüzünden) okudum.
(Not: Kitabı okurken daha güzel şeyler düşünüyordum ama yazarken olmadı, sevdiğimiz şeyleri güzel anlatamayız zaten değil mi? Neyse bir dahakine yazarak not tutayım.)
Müzik eğitiminde karşımıza çıkan engelleri (en önemlisi ego duvarını) nasıl atlayalım? sorusuna farklı yollarla cevaplar arıyor. Piyano başında oturup uygulayabileceğimiz meditasyonlar öğretiyor. Zaten yaptığım ama okuduktan sonra daha hissederek yaptığım pratikler oldu. Bu yüzden körün aradığı bir göz hesabı baya sevdim kitabı.
İçerikten çok bahsetmek istemiyorum ama ben yer yer kendimden geçerek yer yer sıkılarak (ısrarla tekrarlanan şeyler yüzünden) okudum.
(Not: Kitabı okurken daha güzel şeyler düşünüyordum ama yazarken olmadı, sevdiğimiz şeyleri güzel anlatamayız zaten değil mi? Neyse bir dahakine yazarak not tutayım.)
October 6, 2023
This book and its method will work exceptionally well for the right kind of person, but I think it fails by failing to notice that it won't work for everyone. While there are some key ideas here that will help any person at any level the book itself is focused on meditations and spiritual awareness.
It does the spiritual aspect pretty well, referencing ideas from several different religions and philosophies in a way that doesn't seem to lean on any one in particular. As a complete non theist who will happily enjoy a metaphysical metaphor I appreciated the broad approach.
It's really just the way in which it presents the meditative practice that lessened my enjoyment of the overall message.
I have noticed a common theme in some of my recent studies of music theory and that is simply that our mindset plays an underrated role in how we learn. It's a concept that can be applied to our musical practice as well as it can to pretty much any other aspect of our lives.
So the point of the meditations provided herein is not at all lost on me, where I lose the thread (and I think it would be the same for many others) is that this method goes about correcting those limiting thoughts by implementing a ritual of meditation-induced, self-brainwashing. The writer himself acknowledges this point in very similar words when he says something like, "it doesn't matter that it isn't true because of you repeat it enough you'll brainwash your mind into believing it is true and then it will be true."
I'll give the simplest example. One thing we are asked to say and repeat to ourselves goes like, "Every note that I play is the most beautiful sound in the world that I have ever heard." I'm all for replacing negativity with positivity, especially internally, but I can't make myself believe a lie... or that's not even quite true, I could of I tried but I wouldn't want to. That wouldn't be me.
So, I think if this book had laid out the ideas without giving specific meditations for readers to practice then it might have become more accessible to a wider audience. I did plow through the mediation chapters but I would not recommend that to every reader. In fact, while I can think of several friends that I will definitely recommend this book to, there is a much larger group of people who I will probably recommend to skip the meditation chapters entirely - and then some folks I might just end up summarising it for.
I love the spirit in which this book was written and the idea of letting go of those thoughts which have at various times prevented the progress of my musical journey resonates deeply in my metaphorical soul.
What I recommend, dear reader or perhaps fellow musician, is that if you find yourself thinking things like "I'll never be as good as that" or "I've been trying this for a long time and I just can't do it" then this book is worth your time - just go into it knowing that the author has used his own techniques to present a philosophy which you might wish to apply in some other way that suits you better.
It does the spiritual aspect pretty well, referencing ideas from several different religions and philosophies in a way that doesn't seem to lean on any one in particular. As a complete non theist who will happily enjoy a metaphysical metaphor I appreciated the broad approach.
It's really just the way in which it presents the meditative practice that lessened my enjoyment of the overall message.
I have noticed a common theme in some of my recent studies of music theory and that is simply that our mindset plays an underrated role in how we learn. It's a concept that can be applied to our musical practice as well as it can to pretty much any other aspect of our lives.
So the point of the meditations provided herein is not at all lost on me, where I lose the thread (and I think it would be the same for many others) is that this method goes about correcting those limiting thoughts by implementing a ritual of meditation-induced, self-brainwashing. The writer himself acknowledges this point in very similar words when he says something like, "it doesn't matter that it isn't true because of you repeat it enough you'll brainwash your mind into believing it is true and then it will be true."
I'll give the simplest example. One thing we are asked to say and repeat to ourselves goes like, "Every note that I play is the most beautiful sound in the world that I have ever heard." I'm all for replacing negativity with positivity, especially internally, but I can't make myself believe a lie... or that's not even quite true, I could of I tried but I wouldn't want to. That wouldn't be me.
So, I think if this book had laid out the ideas without giving specific meditations for readers to practice then it might have become more accessible to a wider audience. I did plow through the mediation chapters but I would not recommend that to every reader. In fact, while I can think of several friends that I will definitely recommend this book to, there is a much larger group of people who I will probably recommend to skip the meditation chapters entirely - and then some folks I might just end up summarising it for.
I love the spirit in which this book was written and the idea of letting go of those thoughts which have at various times prevented the progress of my musical journey resonates deeply in my metaphorical soul.
What I recommend, dear reader or perhaps fellow musician, is that if you find yourself thinking things like "I'll never be as good as that" or "I've been trying this for a long time and I just can't do it" then this book is worth your time - just go into it knowing that the author has used his own techniques to present a philosophy which you might wish to apply in some other way that suits you better.
January 3, 2015
I enjoy playing the piano, but get serious anxiety if I have to perform for anyone (even my teacher). I am a mess before and during my recitals twice a year. Its horrible and ridiculous. I read this book hoping it could help me bring the joy and calm I feel while practicing on my own, to my performances. The beginning was kind of slow for me, but I was really impressed with the practical ideas this tiny book was packed with. I have read books on mindfulness, meditation, fear, ego...and this book incorporated all these topics into helping the musician. I appreciated that he didn't just talk theory and philosophy, or even just changing the way you think...but he gave concrete things to do while practicing and performing that were completely new to me. My book is well-marked and I know I will be returning to it often...until I one day become an effortless master. :)
February 18, 2018
What I’d been searching for... but didn’t realize I was searching
Immediately captivated, “Kenny is describing me”. After the first chapter I found I couldn’t pick up my guitar. I wanted this change and wanted to understand how to really practice. Two weeks later I worked through the fear of it and meditated, guitar hanging from my shoulders, imagining looking at myself from a detached self, focusing on being light. I just began to play and it happened. No plan, no controlling thoughts, just play. Like a kid without a care, I played in this state for some time. When my mind decided to take over, I set my guitar down. Today I start again, every day (moment) is a new start.
Immediately captivated, “Kenny is describing me”. After the first chapter I found I couldn’t pick up my guitar. I wanted this change and wanted to understand how to really practice. Two weeks later I worked through the fear of it and meditated, guitar hanging from my shoulders, imagining looking at myself from a detached self, focusing on being light. I just began to play and it happened. No plan, no controlling thoughts, just play. Like a kid without a care, I played in this state for some time. When my mind decided to take over, I set my guitar down. Today I start again, every day (moment) is a new start.
March 22, 2016
The most important book for me.
Thanks Kenny!
Thanks Kenny!
October 15, 2017
A great resource for people whose self-worth is tied to performance level, and/or encounter anxiety related to their musical career.
Read
February 28, 2021Kitabın içerisinde meditasyon ile odaklanarak 4 adimda (bu adimlar detayli olarak anlatiliyor) müzikte ustalaşmak anlatılıyor. Meditasyona yakin zaman icerisinde baslamis olmasaydim kitaptan pek verim alamazdim (surekli meditasyon yapmiyorum). Spiritüel yanı olmayan bir insan olarak başlarda pek sevemedim kitabi. Yalnizca ileri seviye muzisyenlere hitap ettigini dusundum ilk bolumleri okurken. Ama okudukca anlatilan yontenlmlerin benim gibi muzige yeni baslayanlarin da faydalanabilecegi yontemler oldugunu anladim. Bitirdikden sonra ayni seyi dusunuyorum: muzikle yillardir ugrasan insanlar daha cok verim alir bu kitaptan. Kitapta anlatilan muzikte zahmetsiz bir sekilde ustalasmak hayatin baska alanlarina da uygulanabilir diye dusunuyorum. Ama tabi anlatilan yontemleri o alana gore degistirip uygun alistirmalari yapmaniz gerekir. Anlatilan yontemleri uygulamaya calisacagim ama simdilik hissettigim şu: yillar sonra kitabi tekrar okuyup bu adimlari uygulayip uygulamamayi dusunecegim.
Muzikte uzun yillar ugrasip da gelisim hizinizda azalma ya da durma oldugunu dusunuyorsaniz bir goz atabilirsiniz.
Muzikte uzun yillar ugrasip da gelisim hizinizda azalma ya da durma oldugunu dusunuyorsaniz bir goz atabilirsiniz.
March 31, 2024
Jasne, je to celkom ezo, ale to inak asi nejde. Boha preskakujem a nechávam sa inšpirovať podstatou myšlienok.
Život hudobníka je často horská dráha, cíti sa podľa toho jak dobre či zle zahral, ale to je peklo, lpenie na výsledku je vždy cesta do nešťastia.
"Každý tón, který hraji, je tím nejkrásnějším zvukem, jaký jsem kdy slyšel." Toto si teraz vravím vždy ked idem hrať.
Odteraz cvičím úplne inak, nejde o to prejsť čo najrýchlejšie najväčšie množstvo skladieb, ale lajdácky, neporiadne, s hromadou slabých miest, ktoré pak človeka akurát stresujú. Radšej sa učiť len jednu skladbu hoci aj rok, tón po tóne ale tak, že každý z nich znie prekrásne a tiež akoby ich "ruky hrali samy".
Túto knižku som dostala a som veľmi vďačná lebo mi poskytla oveľa hlbší a vyrovnanější prístup k hudbe a k životu s ňou.
Život hudobníka je často horská dráha, cíti sa podľa toho jak dobre či zle zahral, ale to je peklo, lpenie na výsledku je vždy cesta do nešťastia.
"Každý tón, který hraji, je tím nejkrásnějším zvukem, jaký jsem kdy slyšel." Toto si teraz vravím vždy ked idem hrať.
Odteraz cvičím úplne inak, nejde o to prejsť čo najrýchlejšie najväčšie množstvo skladieb, ale lajdácky, neporiadne, s hromadou slabých miest, ktoré pak človeka akurát stresujú. Radšej sa učiť len jednu skladbu hoci aj rok, tón po tóne ale tak, že každý z nich znie prekrásne a tiež akoby ich "ruky hrali samy".
Túto knižku som dostala a som veľmi vďačná lebo mi poskytla oveľa hlbší a vyrovnanější prístup k hudbe a k životu s ňou.
March 28, 2023
This book is a must read/listen for any artist - regardless of instrument. It hits on the challenges that are universal to all, including practice, fear, and discipline. I recommend the audio version because the author has some great meditations that are easy to access/listen to in the audio version.
December 21, 2017
Eastern mindful approach to practice and performance (of any craft really). More philosophical than a practical guide, but if applied will reap great benefits.
Encourages slowing down and feeling before playing. Don't let thinking (fear, expectations etc) get in the way.
"Just before I play, I like to feel that no one has ever played the piano before...that every note I play is the most beautiful sound I’ve ever heard".
Really absorb your practice. Don't rush through all the material to get through it, or you'll only scratch the surface and wont really absorb anything. "So little time!" This can lead to a common feeling of overwhelm, and stall practice all together. Instead, focus on the next step, master it before moving on. You are where you are, and it takes the time that it takes. Useful advice for any endeavour.
Some good mindfulness/meditation practices in the book to apply to the instrument. He encourages the reader to try get into that same meditative zone before playing. Open, egoless state, flow; whatever you want to call it. This is the goal. A state of 'allowing', getting out of the way and let the music play itself.
A bunch of flowery spiritual language if you're into that. He has a cool way of approaching music as more of a spiritual practice; a path of mastery.
"As you play, there must be no intellectual interference. It’s good for practicing scales, reading books and studying. But it is not good for creating. Intellect has to surrender to instinct when it’s time to play."
Exercise: Play like "There are no wrong notes" and "That is the most beautiful sound I’ve ever heard."
End Goal:
"Mastery is playing whatever you’re capable of playing ... every time ...WITHOUT THINKING ..."
"To be perceived as a master, one must stay within the boundaries of what comes naturally and easily...There is always a schism between what the ego wants to play and what wants to come out. Although the master player may have great technical ability, you will not sense his attempt to show it; the technique manifests unconsciously"
If one combines masterful technique with the "channeling” of inspiration directly from within, the result can be awesome....After all is mastered, the inner being may manifest"
"For something to be mastered on your instrument, it must feel as simple as playing one note."
Practice To Perfection
Frame new stuff as "Unfamiliar, Not Difficult"
"Every time I practice written music, I move slowly enough to play it correctly, while almost in a state of meditation. In that way, I am teaching my fingers to perform by themselves while I soar!"
*Mastery of Sound - Get a deep feel for the notes (Mathieu Harmonic Experience is a great practical book on this. Getting a tangible feel through singing different intervals and the moods they create in different modal contexts)
The way artists express notes...
"They may be simple, but they resonate in a profound way. This depth of tone or phrase has to do with the artist’s "inner mastery" of the sounds he’s playing. It reflects the character of the player as an evolved being, and the depth with which he unites himself to his notes. He contemplates the different sounds, and forms personal relationships with intervals, chords, rhythms, and so on....focusing on a small amount of material, getting inside it, investigating all its
variations, running it through different keys"
Mastering the Body - Relaxed effort.
"You must have the faith that once you start moving, it’s going to happen"
"Remember: barreling through material works for only a very few. The rest are clearly overwhelmed by that pace and fail to develop a relationship to the music, supporting the belief that they are not meant to play well, that they’re not very talented. But by practicing small amounts, chewing fully and digesting everything from the lesson, extracting from it all the vitamins possible, one becomes mighty!"
Encourages slowing down and feeling before playing. Don't let thinking (fear, expectations etc) get in the way.
"Just before I play, I like to feel that no one has ever played the piano before...that every note I play is the most beautiful sound I’ve ever heard".
Really absorb your practice. Don't rush through all the material to get through it, or you'll only scratch the surface and wont really absorb anything. "So little time!" This can lead to a common feeling of overwhelm, and stall practice all together. Instead, focus on the next step, master it before moving on. You are where you are, and it takes the time that it takes. Useful advice for any endeavour.
Some good mindfulness/meditation practices in the book to apply to the instrument. He encourages the reader to try get into that same meditative zone before playing. Open, egoless state, flow; whatever you want to call it. This is the goal. A state of 'allowing', getting out of the way and let the music play itself.
A bunch of flowery spiritual language if you're into that. He has a cool way of approaching music as more of a spiritual practice; a path of mastery.
"As you play, there must be no intellectual interference. It’s good for practicing scales, reading books and studying. But it is not good for creating. Intellect has to surrender to instinct when it’s time to play."
Exercise: Play like "There are no wrong notes" and "That is the most beautiful sound I’ve ever heard."
End Goal:
"Mastery is playing whatever you’re capable of playing ... every time ...WITHOUT THINKING ..."
"To be perceived as a master, one must stay within the boundaries of what comes naturally and easily...There is always a schism between what the ego wants to play and what wants to come out. Although the master player may have great technical ability, you will not sense his attempt to show it; the technique manifests unconsciously"
If one combines masterful technique with the "channeling” of inspiration directly from within, the result can be awesome....After all is mastered, the inner being may manifest"
"For something to be mastered on your instrument, it must feel as simple as playing one note."
Practice To Perfection
Frame new stuff as "Unfamiliar, Not Difficult"
"Every time I practice written music, I move slowly enough to play it correctly, while almost in a state of meditation. In that way, I am teaching my fingers to perform by themselves while I soar!"
*Mastery of Sound - Get a deep feel for the notes (Mathieu Harmonic Experience is a great practical book on this. Getting a tangible feel through singing different intervals and the moods they create in different modal contexts)
The way artists express notes...
"They may be simple, but they resonate in a profound way. This depth of tone or phrase has to do with the artist’s "inner mastery" of the sounds he’s playing. It reflects the character of the player as an evolved being, and the depth with which he unites himself to his notes. He contemplates the different sounds, and forms personal relationships with intervals, chords, rhythms, and so on....focusing on a small amount of material, getting inside it, investigating all its
variations, running it through different keys"
Mastering the Body - Relaxed effort.
"You must have the faith that once you start moving, it’s going to happen"
"Remember: barreling through material works for only a very few. The rest are clearly overwhelmed by that pace and fail to develop a relationship to the music, supporting the belief that they are not meant to play well, that they’re not very talented. But by practicing small amounts, chewing fully and digesting everything from the lesson, extracting from it all the vitamins possible, one becomes mighty!"
March 21, 2024
The approach he’s writing about is inherently difficult to articulate… a fact that was apparent throughout the book.
That being said, I buy into what he’s trying to say.
That being said, I buy into what he’s trying to say.
February 27, 2016
***I received this book as a gift***
Werner’s Effortless Mastery was just the book I needed. I am a baby violinist, having taken it up at the advanced age of 38. I had inherited a violin, and decided this was the perfect thing to help keep my neural pathways healthy. Learning new skills is always good for that. The practise has been beneficial in many ways. For the first time in decades, I could consciously release the tension in my wrists. It was great for teaching that skill!
Unfortunately, I ran into several mental blocks that really discouraged me. That is when my brother-in-law surprised me with a copy of Effortless Mastery. I was more than a little sceptical when I first started reading, especially since Werner's biggest focus was piano. However, the stories he told spoke to me on a deeper level. I decided what the hell and started using the practises he offered. What do you know? They worked just as well for a baby violinist as for an accomplished pianist.
It was very hard for me to let go of the notion I had to do things perfectly, even though this was a brand new skill to me. Werner's tools and techniques helped me find true joy in my learning. I can laugh at my mistakes, and be as enthused as a little kid at my successes, when they come. I let go of needing to do things perfectly, and let my body dictate the appropriate adjustments to suit the medical conditions I live with. I'm playing for me, only me, and to have fun. Werner's Effortless Mastery helped me to accept and embrace these things. Practise had become something I dreaded. Now it is something I look forward to, and enjoy. As I have found more joy in my playing, and acceptance of myself, I've become more comfortable not caring if others hear me. I had been painfully shy, and wouldn't practise unless I was alone. This also made it difficult to work with my teacher. I would get so flustered at having to play where another could hear me that I was terrible, even at things I could do quite well alone.
Werner's work is quite readable, full of shared experiences relating how he himself evolved along the path he is now guiding others along. Many of the meditations and exercises are tools I am familiar with from my spiritual path, but here Werner has adapted them perfectly to a musician’s needs. These adaptations never would have occurred to me, and I am very thankful this book was gifted to me!
My only qualms were an overuse of exclamations and italics to get points across, and that at times it devolved into socio-philosophical ramblings which made some winnowing necessary in order to get the most valuable nuggets. It was quite clear, though, that the author was quite joyful at writing this book, and sharing his methods, and that made all the difference. I would highly recommend Werner's Effortless Mastery to anyone who needs a new way to look at their music practise and find greater depths of enjoyment with it.
Werner’s Effortless Mastery was just the book I needed. I am a baby violinist, having taken it up at the advanced age of 38. I had inherited a violin, and decided this was the perfect thing to help keep my neural pathways healthy. Learning new skills is always good for that. The practise has been beneficial in many ways. For the first time in decades, I could consciously release the tension in my wrists. It was great for teaching that skill!
Unfortunately, I ran into several mental blocks that really discouraged me. That is when my brother-in-law surprised me with a copy of Effortless Mastery. I was more than a little sceptical when I first started reading, especially since Werner's biggest focus was piano. However, the stories he told spoke to me on a deeper level. I decided what the hell and started using the practises he offered. What do you know? They worked just as well for a baby violinist as for an accomplished pianist.
It was very hard for me to let go of the notion I had to do things perfectly, even though this was a brand new skill to me. Werner's tools and techniques helped me find true joy in my learning. I can laugh at my mistakes, and be as enthused as a little kid at my successes, when they come. I let go of needing to do things perfectly, and let my body dictate the appropriate adjustments to suit the medical conditions I live with. I'm playing for me, only me, and to have fun. Werner's Effortless Mastery helped me to accept and embrace these things. Practise had become something I dreaded. Now it is something I look forward to, and enjoy. As I have found more joy in my playing, and acceptance of myself, I've become more comfortable not caring if others hear me. I had been painfully shy, and wouldn't practise unless I was alone. This also made it difficult to work with my teacher. I would get so flustered at having to play where another could hear me that I was terrible, even at things I could do quite well alone.
Werner's work is quite readable, full of shared experiences relating how he himself evolved along the path he is now guiding others along. Many of the meditations and exercises are tools I am familiar with from my spiritual path, but here Werner has adapted them perfectly to a musician’s needs. These adaptations never would have occurred to me, and I am very thankful this book was gifted to me!
My only qualms were an overuse of exclamations and italics to get points across, and that at times it devolved into socio-philosophical ramblings which made some winnowing necessary in order to get the most valuable nuggets. It was quite clear, though, that the author was quite joyful at writing this book, and sharing his methods, and that made all the difference. I would highly recommend Werner's Effortless Mastery to anyone who needs a new way to look at their music practise and find greater depths of enjoyment with it.
February 23, 2013
So far this has been much better than I thought it would be after popping in the meditation CD that comes with it. I have gone through many torturous, self-hating hours of music practice thinking that it would somehow be beneficial to me because I was "suffering to be an artist". Werner is very good at picking out negative habits of mind when it comes to music practice, and his aim is to make us understand why any period of time spent playing music should be joyous. This doesn't at all mean that we have to play "joyous" sounding music, but just that we should cultivate an approach to music that involves a good level of self-respect and adventurousness rather than inadequacy and rigid discipline.
June 14, 2014
I read this book twice and watched several of his DVDs about learning to play music in an effortless way. I also met Kenny in Seattle when he played at Jazz Alley in 2014 and I distinctly felt (and so did several people I spoke to) that his playing was coming from another place. I play jazz piano and have had many professional teachers swear that when they perform they stop thinking and play from instinct. It is very hard to learn to do, but I have made some progress by learning a piece so thoroughly that I can play it without thinking about it. And from there I can feel very original improvisations beginning to emerge. Kenny's techniques really help the process along. I bought his DVD, in which he works with students on camera and coaches them through the process.
November 26, 2019
Supposedly there is some music mastery wisdom in here, but the writing was so awful I couldn't make it past 10 pages.
UPDATE: I just read all the goodreads quotes and they're all so excellent and inspiring. I guess I just can't be bothered to wade through all the drivel to get to those gems, but thankfully I don't have to since they're all laid out right here.
UPDATE: I just read all the goodreads quotes and they're all so excellent and inspiring. I guess I just can't be bothered to wade through all the drivel to get to those gems, but thankfully I don't have to since they're all laid out right here.
June 11, 2021
I’ll definitely return to this book and meditations multiple times over the course of my life. It’s pretty out there and the concepts can be challenging at first but I got a lot out of it and look forward to building on what I learnt.
February 22, 2016
This book changed my life. My piano practice time is now much more productive. Thank you, Kenny Werner!
August 7, 2017
A mindset book, not a technique book.
If you're having trouble with motivation, this book is for you. It gets pretty new-agey, so heads up if that's not your thing.
If you're having trouble with motivation, this book is for you. It gets pretty new-agey, so heads up if that's not your thing.
July 31, 2023
I investigated this book at the suggestion of a friend who had dabbled in Werner's approach to piano. There is value in some of the lessons in this book and meditation tracks but it's very little.
The very claim of mastery being "effortless" raises alarms. We would all like to live in a world where things come easy if only we just knew the right method but this is not the case, the right method to achieve anything in the real world is always by putting in the effort.
One may be very inspired by Werner's insights and approach but it is standard self-help material, things like saying "I believe in myself", "I'm letting go" or as the meditation tracks horribly suggest: "I am a master!".
Honestly, to consider yourself a master when you clearly lack the ability is arrogant.
Werner draws heavily from what he's taken from Eastern mysticism such as Hindu meditation, which in itself is not compatible with everybody's worldview or sense of morality, such sensibilities encourage abandoning thought - as Werner himself encourages often. On the contrary, I find better results in my music when thought and feeling are aligned with focus, clarity and intention as opposed to Werner's method of being detached.
Practically speaking, if you already have the talent but you're second guessing yourself to the point of it hindering your abilities then sure, perhaps reducing your thinking is justifiable within reason, but for a music student I highly discourage being detached and essentially mindless.
If mastery were indeed "effortless" according to Werner's methods, everybody who had read this book would be performing at Carnegie Hall.
The very claim of mastery being "effortless" raises alarms. We would all like to live in a world where things come easy if only we just knew the right method but this is not the case, the right method to achieve anything in the real world is always by putting in the effort.
One may be very inspired by Werner's insights and approach but it is standard self-help material, things like saying "I believe in myself", "I'm letting go" or as the meditation tracks horribly suggest: "I am a master!".
Honestly, to consider yourself a master when you clearly lack the ability is arrogant.
Werner draws heavily from what he's taken from Eastern mysticism such as Hindu meditation, which in itself is not compatible with everybody's worldview or sense of morality, such sensibilities encourage abandoning thought - as Werner himself encourages often. On the contrary, I find better results in my music when thought and feeling are aligned with focus, clarity and intention as opposed to Werner's method of being detached.
Practically speaking, if you already have the talent but you're second guessing yourself to the point of it hindering your abilities then sure, perhaps reducing your thinking is justifiable within reason, but for a music student I highly discourage being detached and essentially mindless.
If mastery were indeed "effortless" according to Werner's methods, everybody who had read this book would be performing at Carnegie Hall.
This entire review has been hidden because of spoilers.
July 10, 2021
The book proposes a way of practicing that ensures that every new bit of information is deeply learned before moving onto the next one. That way, progress ends up being way faster, even though it might not seem that way inmediately.
The author emphasizes the importance of practicing only from "the space", which I interpret as a mindstate of high mindfulness and no thought or ego. He says that one should only practice as long as that state is maintained, and stop if is not. Otherwise, the quality of the practice is compromised and is not longer useful, or worse, it might be detrimental.
These and other concepts were useful for me in my search for more efficient and effective ways to improve as a musician, and I will incorporate them in my life.
The book talks frequently about repiting positive affirmations to change our beliefs about ourselves. At this parts of the book I found myself a little desinterested and skeptical, but then I thought that I should be open to the potential of that, and try it by myself.
I would recommend the book Rhythm Knowledge by Mike Mangini as a nice complement to this book, because it has some of the same ideas as a background but makes it much more concrete
The author emphasizes the importance of practicing only from "the space", which I interpret as a mindstate of high mindfulness and no thought or ego. He says that one should only practice as long as that state is maintained, and stop if is not. Otherwise, the quality of the practice is compromised and is not longer useful, or worse, it might be detrimental.
These and other concepts were useful for me in my search for more efficient and effective ways to improve as a musician, and I will incorporate them in my life.
The book talks frequently about repiting positive affirmations to change our beliefs about ourselves. At this parts of the book I found myself a little desinterested and skeptical, but then I thought that I should be open to the potential of that, and try it by myself.
I would recommend the book Rhythm Knowledge by Mike Mangini as a nice complement to this book, because it has some of the same ideas as a background but makes it much more concrete
February 4, 2019
I'm not a musician, can't play an instrument, and have never attempted to learn. Kenny Werner is a jazz musician who writes to other musicians. This book shouldn't have ended up on my radar.
So you're not a musician. Maybe you're a writer, an artist, a glass-blower, a short-order cook, a big-rig mechanic... anyone who practices a skill. Someone who needs to practice.
If that's you, then you probably know the ugly truth: practice is hard. Practice sucks. Practice is boring, repetitive, uninteresting, and worst of all, it's frustrating. Learning new things is hard.
You know what's better than practicing? Cleaning out the garage. Getting your taxes done. You get so absorbed by the need for perfection -- and facing down your limitations -- that you forget to just do the thing. It becomes another chore.
Kenny Werner gets it. Effortless Mastery is his attempt to untie these psychological knots we twist ourselves into. Call the jazz an allegory. You don't need to be a musician; slot in your preferred skill and the strategy still sticks.
These kinds of books can go in two ways. You have the theoretical types of books that love to dig into Zen philosophy and tell a nice story. These might have some bits of actionable advice, but they're mostly a story about "why".
Then you have the more practical books which dig into the how-to. We're in this latter category, with lots of what-to-do advice. There are plenty of exercises and mental-model techniques to put to use in your own practicing. The book even includes a CD with audio tracks to accompany the four steps of meditative practice laid out in the text.
Effortless Mastery pairs well with
Mastery: The Keys to Success and Long-Term Fulfillment
Zen in the Art of Archery
The World Beyond Your Head: On Becoming an Individual in an Age of Distraction
The Craftsman
So you're not a musician. Maybe you're a writer, an artist, a glass-blower, a short-order cook, a big-rig mechanic... anyone who practices a skill. Someone who needs to practice.
If that's you, then you probably know the ugly truth: practice is hard. Practice sucks. Practice is boring, repetitive, uninteresting, and worst of all, it's frustrating. Learning new things is hard.
You know what's better than practicing? Cleaning out the garage. Getting your taxes done. You get so absorbed by the need for perfection -- and facing down your limitations -- that you forget to just do the thing. It becomes another chore.
Kenny Werner gets it. Effortless Mastery is his attempt to untie these psychological knots we twist ourselves into. Call the jazz an allegory. You don't need to be a musician; slot in your preferred skill and the strategy still sticks.
These kinds of books can go in two ways. You have the theoretical types of books that love to dig into Zen philosophy and tell a nice story. These might have some bits of actionable advice, but they're mostly a story about "why".
Then you have the more practical books which dig into the how-to. We're in this latter category, with lots of what-to-do advice. There are plenty of exercises and mental-model techniques to put to use in your own practicing. The book even includes a CD with audio tracks to accompany the four steps of meditative practice laid out in the text.
Effortless Mastery pairs well with
Mastery: The Keys to Success and Long-Term Fulfillment
Zen in the Art of Archery
The World Beyond Your Head: On Becoming an Individual in an Age of Distraction
The Craftsman
April 10, 2024
His theme, variations on which he revisits throughout the book via memoir, philosophy and guided meditation, is that musicians should let go of ego, and that letting go of ego accelerates musical development. None of it sounds implausible but it’s hard to imagine this being read as insightful and hard to assess how original any of this was thirty years ago. You can mislabel something as cliche because it predates the cliches, and maybe that’s this. Pop culture has repackaged mystical notions of ego as the barrier in a thousand ways: none of this is countercultural at all. There’s also the problem of retrospective advice from a master (he downplays it, if anything, but the author was a child prodigy): practices that he credits for his success may have been decoration on an overdetermined journey. But I may be too cynical here, or too burned out on pop culture. I read it because it came highly recommended by optimization-interested folks. Based on other people’s enthusiasm I suspect the core lesson strikes some as absolutely novel. Those are probably the people who will enjoy it most.
January 28, 2024
Ege was mentioning this book in one of his podcasts. Ege is a far superior pianist who takes stage in Istanbul Jazz Festival. He wants to perfect his style understandably. I thought it could help me with my more modest ambitions. After reading the beginning carefully, I flew over the pages. He suggests meditation. Such philosophy doesn't speak to me. So, we will spend some time in front of the piano, empty our minds, will create a space, we will say playing is easy, I am the master, and then we will, at our own speed, study the piece and bring it to such a level that we can play it without thinking it/effortlessly. Like using a fork. The only thing I liked was the diamond shape at the end. Playing effortless is necessary. The other three eat up from one another. If you play the entire piece perfectly you cannot play it fast etc. This explains why I won't be a great piano player.
I asked our library to bring it and Kadir Has university turned out to have had it. I would feel sorry if they had to bring it all the way from the US.
I asked our library to bring it and Kadir Has university turned out to have had it. I would feel sorry if they had to bring it all the way from the US.
December 10, 2020
This is a Bible for all musicians. A true gift of art.
I don't know why there are some people complaining that this book is New Age - it's not. The term New Age is only an excuse for not reading it and accepting it's true value.
The author mentions old philosophy and religion concepts that are needed to grow yourself not only as a musician but as an human being. It doesn't matter if you are religious person or not. I personally don't go to a church nor am I member of any religious organization. The book also has a lot of science, history, art, sociology, psychology... Very well rounded.
I'm a professional musician, I play for 20+ years and not one lesson in music was so important as this book.
But you must read it slowly, focused and with open mind. Only then you will fully understand it, it will blown you away, change your life forever. If it cost 100$ or a 1000$ dollars I would still recommend it to you.
Way to go Mr. Werner!
I don't know why there are some people complaining that this book is New Age - it's not. The term New Age is only an excuse for not reading it and accepting it's true value.
The author mentions old philosophy and religion concepts that are needed to grow yourself not only as a musician but as an human being. It doesn't matter if you are religious person or not. I personally don't go to a church nor am I member of any religious organization. The book also has a lot of science, history, art, sociology, psychology... Very well rounded.
I'm a professional musician, I play for 20+ years and not one lesson in music was so important as this book.
But you must read it slowly, focused and with open mind. Only then you will fully understand it, it will blown you away, change your life forever. If it cost 100$ or a 1000$ dollars I would still recommend it to you.
Way to go Mr. Werner!
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