The cusp is a concept well worth keeping in mind. In every situation there is a cusp in time at which the most desirable resolution can be obtained. Like the climax of a song, the rhythm of life leads inexorably to a specific point which perfectly resolves the stored energies of the moment. Just like the cymbal player waiting for his mark, we must read the melody of the situation; listen for the rhythm so that when we choose our action it is perfectly suited to the music we want to make. Missing the mark doesn't ruin the song. It merely ruins the experience for the player. The song continues on, but the failure of the player becomes part of the theme, rather than the theme becoming about the player's perfect solo.
Image from pixabay.com by Sebasiano Rizzardo
In order to reduce suffering in our lives and reach our desired goals a practice must be implemented for the reading and directing of theses compositions. Cultivating an open-minded and non-judgmental disposition will allow you to be more receptive to the melody of a situation. Being able to mold your outward self into this melody will cause those entranced by it to look upon you favorably. The part you are to play depends entirely on the situation. There are expectations from everybody around you, and most people would rather play their own music than the theme of the day. Fear, insecurity, and the lack of self-love prevents them from taking the steps they need to step up from player to director. They still feel the desire to play for themselves, and often use cowardly tactics like coercion, deception, or force to entice other players to play for them.
Image from pixabay.com by Manuel Ramallo
Playing anything other than the main theme will result in resistance from the majority who are in harmony with it. Actively resisting the dominating composition might end up with the player being labeled as a troublemaker and expelling the player from the band as opposed to the theme changing for the resistant player. This will place the musician into a new band, which is likely to be further from their intention than the original theme.
In order to change the song that’s being played, the player must be creative and resourceful. Bursting in and making a disruptive racket may cause an interruption, but without entertaining the venue, the disruption will be removed and the concert will resume. It’s only by creating a new song will it be possible to recruit others to a new production.
Image from pixabay.com by jeremiemax
Begin by reading the venue and the song being played. Start playing in tune with the current song. Resonate with the most receptive musicians and be careful not to get off beat at first. Once a relationship with the key musicians has been reached, start improvising within the main theme. As the bridge approaches, use the attention of sympathetic improvisational musicians to change the song. Using themes and ideas from the old composition, create a new song which carries new, more desirable themes. Once the themes are in place, a cusp will occur where correct action will begin a new movement, with a life of its own.
Image from pixabay.com by Franz Fiala
Upon graduation from the band to the directors seat, the game changes. Instead of playing an instrument, the director plays the band. By encouraging themes in tune with the grand picture and handling the dissenting themes in such a way that the main theme isn’t threatened, the music is shaped to fit the directors ideal composition. New players are recruited and attracted based on their love of the new theme and become key players within it. The director manages the energies within the band until it begins to resonate with the bands around it. Becoming a player in a much bigger symphony where entire bands act as players, and the resulting music affects the compositions of all of its participants.
Title logo created with Canva