By M MacDonald-Bayne
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As he spoke, his voice like music; he might have been playing a piece of exquisite beauty. ” There had been a certain amount of tension in my concentration because I had not wanted to miss a word, and I think he knew it. “All right,” he responded, “we will go on,” and he proceeded: “The point of climax may be treated in different ways according to the inner feeling and interpretation. “For instance, in an appassionata passage you may gradually accelerate tempo and strengthen tone, giving more stress to each succeeding emphasis up to the point of climax, or you may broaden successive chords, holding back the final accent for a breathless moment to increase intensity.
A rest period is good because it gives the mind time to re-arrange the consciously-made movements. Accuracy is therefore essential. Actually you are learning to play when you are not playing, for the mind takes up the work when you give it the opportunity. “You have found that after a rest you can play a piece easily, a piece you found difficult before. This is because the mind has been making the adjustments while you rested the mechanism. It is like a problem you try to solve, one which for a time eludes you.
He told me the story of how he first went to Rimpoche and asked to become a chela. Rimpoche took him down to the river and asked him to kneel down and put his face on the surface of the water. Then Rimpoche pushed his head under the water and kept it there until he struggled violently to get up. ” It was interesting to see the many hundreds of images, many of them of gigantic size, usually dressed in gold brocade of great value and draped with silken scarves. When I got back I spoke to Rimpoche about all this, and he gave me a clear picture of the whole thing.