The Self, when free from the ego’s need to label and structure all points of learning and practice according to ‘tradition’ or the infamously generic ‘that which is done’ approach, remains free from the illusionary need for knowledge and can thus do what it does naturally: exist.
As water, the mind (Self) is in a constant state of motion. Water always follows the path of least resistance and never tries to go faster or slower than is required by its environment. It never questions and is at all moments content with what is happening to it. Of course, by this, it is to be understood that water is ‘being done to’ and is indeed not ‘doing’.
To the Water Pianist, this is interpreted as “Do that which is necessary, when necessary, for as long as necessary” and then move on to that which naturally follows. No label of difficulty or ease is attributed to whatever ‘that’ may be and no complaint is made as to its perceived difficulty, effort or time to complete. Has water ever complained over the height of a waterfall or the length of a mountain stream it travels?
In addition, no comparison is made to the progress of other water pianists since their environment is surely completely different at all times just as much as no comparison is made to other areas of focus since all are as equal as one another. Thus, comparison is futile and meaningless, unproductive and frivolous.
Just as water changes shape and form without force to adapt to its surroundings, so does the Water Pianist focus on that which needs to be achieved at that moment, without fear of failure or difficulty.
A significant obsession in most fields of study is the need to structure knowledge. Since everybody finds certain concepts and physical skills easier and more difficult to grasp than others, it should seem strange to the reader that any kind of structured learning, especially in the arts, is deemed useful based on this irregularity.
In traditional piano studies, the idea of key signatures is thus: less common, more difficult; more common, less difficult. It cannot go unmentioned that Chopin started his piano students on the ‘uncommon key’ of B major since the shape of this major scale does indeed fit nicely and naturally under anybody’s fingers.
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