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Author Topic: Liberating the Master Musician Within  (Read 388 times)
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Jim R.
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« on: July 15, 2008, 12:19 PM »

Recently finished reading “Effortless Mastery: Liberating the Master Musician Within” by Kenny Werner, and wanted to ask if anyone else has read it and whether or not the learned from it and was able to apply it to their drumming? Can anyone share about it?
http://www.amazon.com/gp/product/product-description/156224003X/ref=dp_proddesc_0?ie=UTF8&n=283155&s=books

I really got a lot out of it in terms of not letting how well or bad I play determine how I feel about myself off the stage. I’m trying not to get down about my playing and enjoy the moment of playing more, not wondering what the keyboardist this of me because of the weird look that I just got from him. Do I sound good? How do I sound? Am I playing good right now? Am I in the pocket? So many thoughts can go through my head while playing rather than clearing my head and playing from a ‘space’ where the music and expression can just flow through me.

I also am applying his suggestions for practicing as well. I definitely don’t have the blocks of time to practice that I once had, pre-marriage, pre one kid, pre two kids. I used to get very bummed by my lack of practice and when I didn’t practice, my expectation was that I need hours to practice, which wouldn’t happen and I would feel failure and unproductive. I used to practice out of books so much, that I felt I need lots of time in them. Books are great, and I will get back to more exercises, but not at this time. Now, I’ve learn to appreciate even a small amount of practice time working on one thing, or just playing freely as an drummer/artist. I’m learning to focus on small things and try to gain a mastery over it, not rush to the next exercise or latest groove, without truly grasping it, which seems to be an issue for many drummers/teachers/students on the forum young and old.

Werner’s says a lot in his book and gives lots of suggestion on how to approach the dysfunctional aspects of our practicing, playing and view of ourselves as well as how to meditatively getting to your ‘space’ to play from. Not everyone will like this book, relate to it or know how to apply it, maybe think its too New age, but I found some very practical ideas for me personally.

Anyone else?


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garagerocker
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« Reply #1 on: July 15, 2008, 01:27 PM »

Due to the recommendation I went to Amazon's link and read an excerpt (page 13).  I think the last paragraph on that page is a tremendously recognition of one of the most attractive and yet frustrating aspects of music - how to express your inner self through the outward mastery of your craft.  So many times it's primarily the mental and emotional approaches of learning the craft that cause me the most frustration.  So I will be picking this up.

You might also like this website - www.musicalfossils.com.  It's run by a piano teacher/psychologist and focuses specifically on the problems/solutions of teaching beginning older piano students, but everything there can be applied to drumming.  It has kept me going many times when my anger and frustration at not grasping a concept or physical technique seems overwhelming.

Thanks for the recommendation! Cheesy
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Jim R.
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« Reply #2 on: July 16, 2008, 05:18 AM »

Thanks for the link! It looks like there is a lot of great information and advice on there, though I'm not a 'fossil' yet.
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felix
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« Reply #3 on: July 16, 2008, 06:32 AM »

We have talked about Effortless Mastery here a bunch of times.

I've read the book about 3 times.

Yes, it totally liberated me.  I did indeed have to tailor some of it's philosophies to rock playing as opposed to jazz, but yes it was extremely helpful.

A few thoughts-

It's not a philosophy for beginners in my opinion.  One has to practice and stay on a regular playing regimen in my opinion.  One can't gloss over the basics and expect to be a "master musician" that is misleading.  I do believe the more advanced player can choose their avenues of study.  I also believe that you don't need a whole lot of technique and training to still make amazing music. 

Kenny Werner is a gifted player, most of the rest of us are not.  Talent is a big part of making music.

Totally letting go and playing from a meditative state is ok at times but personally I have to keep looking at my band members, thinking a bit about changes in the music, upcoming fill ideas, tempos, groove and how my body/posture is reacting with the drums.

So I believe in my case the meditative exercises can be used as a concentration practice tool; that is what I personally really need.  I can get distracted and forget about what I'm there for.  But sometimes getting distracted is fun, after all I'm a rock musician  Cool

So it's a great read all and all and I'm still reaping it's benefits.
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boomka
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« Reply #4 on: July 16, 2008, 12:17 PM »

Quote
Totally letting go and playing from a meditative state is ok at times but personally I have to keep looking at my band members, thinking a bit about changes in the music, upcoming fill ideas, tempos, groove and how my body/posture is reacting with the drums.

There is passive meditation and active meditation. Trying to be acutely aware of your situation and being here NOW, is meditation.

You just didn't know you were doing it...  Grin
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Jim R.
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« Reply #5 on: July 16, 2008, 03:16 PM »

I searched the topic and seen now there have been discussions. Its probably good to have topics resurrect from time to time.

I agree that this is not for beginners, though some topics in the book may be helpful in approaching your practice and performance. But the mediation part of performance may be for someone who is more advanced and has a great amount of technique already aquired.

I agree with boomka, that an acute awareness while playing can be meditative, I think it depends what you're being aware of, are you in the moment just letting the music flow or thinking about a lot of external things or thinking about the form, being unsure of the form, etc.

I can see how you need to change things a bit as a rock musician. Alot of the improvisation ideas may not apply. I relate to both sides. I grew up on classic rock, that will never go away, but have studied jazz many years. So I identify with the improv aspect quite a bit, but even when I play rock, I still feel an active expression of playing and improv and if the song will allow it, I will try to take it new places.
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smoggrocks
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« Reply #6 on: July 16, 2008, 04:15 PM »

i started reading this book a while back on the recommendation of some cafe members. i got frustrated with it about halfway through, in part because it was a little too touchy feely and unrealistic for my taste/mindset at the time [and mind you, i can be very touchy feely, new-agey, 'out there,' philosophical and spiritual].

i'm pretty much with felix. i think that we shouldn't delude ourselves as players--that there are established standards that denote a knowledeable/capable musician. we should work toward those standards. at the end of the day, we play for ourselves, but also for an audience, and we want to be at our best.

however, i do think there is a lot of value in not beating oneself up/becoming too judgmental about ones playing, and this i think the book points out well. we can waste a lot of time and energy telling ourselves we suck, when we could be putting that energy toward working to get better. like they say...turn your weakness into your strength.

this is where a good teacher is so helpful. i love my new teach, because he says, in very clear but constructive/nonjudgmental ways, where my weak points lie and what i need to do to fix them. we're not wrapped up with 'time'--ie; this has to be achieved in this time period. we set goals and work for them, and if they're not achieved, you work toward them some more. eventually you will get them. we do focus on being 'present' and in the zone, but not to the exclusion of what's happening around you. you have to be subjectively and objectively aware.

i agree with those who say this book is more for the advanced player, because by that point they will have likely reached other types of hurdles/issues in their playing--i believe werner even mentions when he hooked up with this effortless guru of his, he was already at a level where he could burn. i don't burn yet. i'm just starting to smolder. so i can't identify with getting to that next level of psychospiritual playing ephiphany.

net-net: practice hard, practice joyfully, practice with purpose and knowledge and work on your weaknesses. eventually, you will achieve a level of understanding and ability...and THEN you can worry about obsessing over mastering stuff 'effortlessly.'



chakras 'n past lives2ya-
smoggy d
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Jim R.
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« Reply #7 on: July 18, 2008, 03:00 PM »

Thanks for the responses. I think you each took away some great concepts from the book.
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