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Daniel Bennett - Water Pianism: The Guide

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Daniel Bennett Water Pianism: The Guide

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Water Pianism is not a piano method; these dictate rules and demand a kind of study which more often than not goes against the natural way of learning which seems to be so often neglected.The Water Pianist does not study, apply, seek or eventually teach any existing or particular method. They have achieved the mindset of removing restrictive labels and recognised that exactly what is required to be a pianist already exists within from the moment they first sat at a piano and pressed their first key to their first live performance of a Chopin Nocturne, Liszt tude, Beethoven Sonata or solo Jazz improvisation.Water, just like all observable nature, teaches so much about how to live, let alone simply how to play the piano. It has been, until now, an untapped source of teaching which can guide the ready individual along the most natural path possible to achieve anything that may be desired.Pianism embodies the self and is an extension of it; You play what You think about. As thoughts change, so too does playing; as experiences are gained, so too does playing change.

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W ater P ianism

The Guide

Daniel Bennett
This eBook is licensed for your personal enjoyment only It may not be re-sold - photo 1This eBook is licensed for your personal enjoyment only It may not be re-sold - photo 2


This eBook is licensed for your personal enjoyment only. It may not be re-sold. Thank you for respecting the hard work of the author.

More Information

www. danthecomposer .com

www.piano-jazz.blogspot.com

www.youtube.com/danthecomposer

***

Copyright, 2016.
Daniel Bennett, Budapest

Table of Contents Authors Note My sole intention behind writing this - photo 3

Table of Contents
Authors Note

My sole intention behind writing this guide was to encourage each and every reader to feel an eventual sense of absolute possibility, total freedom and endless motivation.

Without such positivity and self-belief, the otherwise enjoyable path to whatever is perceived as achievement unavoidably becomes fraught with challenges which are usually successful in completely blocking progress, resulting in frustration and possible abandonment.

Water Pianism is a state of mind. It is not a method. It cannot be described in one sentence and is very difficult to believe in during the initial stages of its discovery because the ego will be blocking out anything new, unusual or which goes against its firmly held belief systems.

You are coming to this book with a charged, loaded ego, ready to reject a lot of the content despite not one written word being dishonest, negative or confrontational.

Further to this, each page does its best to take your natural Self along with it, disregarding your poisonous ego at all times and encouraging you to detach from its noise which, as discussed herein, will become unbearably loud as it realises it is being rejected; as a child not permitted to buy sweets by its parents.

Once a peaceful, positive and well-balanced mind has been established, your practice and performance abilities will improve drastically, your self-awareness and understanding of the mind, body and piano components will be greatly enhanced and no mental or physical difficulty will ever cause even the slightest of frustrations.

As a Water Pianist, you promise yourself to adhere to its three-fold path and to do your best in sharing its notions, without need for recompense, with others who you believe will benefit from or find value in it, and especially with those who:

  1. Feel lost in the piano world;
  2. Are unable to afford a piano teacher;
  3. Get easily frustrated;
  4. Seek musical wisdom.

Your inspirational responsibilities as a Water Pianist go beyond playing the piano, even beyond the world of music itself, and reach any and all individuals seeking guidance.

The Water Pianist understands that:

A teacher always finds educational value in a student just as much as a student finds educational value in a teacher. Neither one is more or less than the other.

The Water Pianist uses students as an opportunity for self-betterment and practice in much the same way as they do in the presence of the Water Pianist.

Your journey towards perceived perfection is futile. You will not achieve it. This is exactly why every moment must be savoured for the pleasure or learning opportunity it presents.

Some sit at their piano and strive to be as good as their idols; they shall fail in their endeavours.

Some sit at their piano and practice for hours every day in the hope of attaining perfect technique; they, too, shall fail in their endeavours.

Some sit at their piano and lament in their unsatisfactory abilities; they, of course, shall also fail in their endeavours.

The Water Pianist does not merely sit at the piano, does not strive to be like others, does not endure the monotony of mindless practice and never allows a sense of disappointment to enter the mind.

Instead, you will spend more time understanding your own mind, interests, musical likes and dislikes, playing pieces you enjoy and acknowledging that your current ability is always a result of previous efforts.

If you feel that you are not ready or prepared to continue reading, do please stop for the words contained in the coming pages will surely only be met with resistance. This is not their purpose or intended final destination.

I wish you an excellent and peaceful destinationless journey of self-discovery both at and away from the piano and hope that you will live a life of inspiring others, whether that be through Water Pianism, art, education, or a simple act of unexpected kindness.

Your Author.

Preface

This guide contains twenty studies, each discussing in some way one of the three components of the philosophy of Water Pianism: Mind, Body and Piano.

Traditionally, piano studies focus on fingers-at-the-piano and eyes-at-the-score activities which are both very useful as part of the Piano component but which completely neglect the other two.

This often results in limited progress whereby one feels a sense of frustration, comparisons with others are made when it comes to matters of speed and dexterity and most importantly, a feeling of never making it becomes very predominant, all of which being the result of the poisonous activity of the Ego.

In fact, by focusing on where it all enters (the mind) rather than where it all exits (the piano), one will come to realise very quickly how much talent is already possessed, thus instantly removing those very unpleasant feelings of self-doubt and disappointment.

The result is a piano life made all the better by having started out with the most productive mind-set possible: detachment from the ego, freedom of the conscious mind and unimpeded flow from the inspirational source.

Before beginning to apply the teachings contained herein and allowing it to guide along the path of Water Pianism, one would do well to prepare mentally and physically for what is to come.

By mental preparation, it is meant that one unlearns what is thought to be known and understood, recognising that any preconceived ideas about playing the piano, especially about what is considered beginner level and advanced level, are an illusion.

It may be said that in order to enjoy some fresh water, the glass must first be emptied of its former contents.

By physical preparation, it is meant that one gets the body into the habit of sitting in a comfortable posture at all times, both at and away from the piano.

Strengthening of the upper-arms, forearms and regular flexing of the finger tendons is also foundational to the philosophy.

It is invaluable to consider the natural behaviour of water. It is only in recognising the inherent traits of water and applying them to the Self that one may progress at a most natural speed; a sense of falling behind or not being as quick as another is in this way suppressed and a sense of contentment in the present moment, along with acceptance of current abilities, is experienced at all times.

Pianism embodies the self and is an extension of it; You play what You think about. As thoughts change, so too does playing; as experiences are gained, so too does playing change.

Consider the following:

How disappointing would it be for the writer to run out of pens, the sculptor to lose the chisel or the artist to damage the last brush?

One may assume then that the primary tool of such creators has been removed; that since they lack what is required for self-expression, that very same passion which is desperately trying to be freed has also been lost.

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