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“I want them to feel that playing the game is fun and not a thing you have to spend money on. I want to let them to realize that this game can



 

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“If I had to give a dream to all the players in the world for their kids, I would say that everyone can learn to play the game,” he continued. “I want them to feel that playing the game is fun and not a thing you have to spend money on. I want to let them to realize that this game can really be a dream for them. If I have to tell a dream for the players and for everyone in the world, it is to learn the game and it is to enjoy playing it.” But the truth was that practice was hard, and beyond the natural tendency to progress to the rhythm of the song, and the repetition of the exercise, one's body was not really used to moving as quickly as it was going to need to do when the game started. The idea that one would simply have to learn to perform on the spot with the perfect technique had not yet occurred to me. This is a truth that is most evident when one takes the pressure of a competition away from a player, and looks at the rhythm he or she is already able to play at a very high level of intensity. In this, the song is the player's “therapy,” and it is much easier for the player to play off-the-cuff, and to be spontaneous, at this level of pace. To this end, the song is itself a therapy for the player, and in order for the player to be able to perform it successfully in a competition, he or she must have previously been practicing, and built up to this point of mastery. This is a very important concept that is not always considered in relation to competition, and if the player is not working on building up speed, and the correct technique, to this level of artistry, he or she will be left behind during the competition. The real trick is, as I said, to find the balance between knowing that it is important to practice, and know that it is important not to be too attached to results. Over-practice is the enemy of excellence, and one must always be able to remind oneself that one is a student, and that a student must be willing to learn at any time, at any level, in any context. This is in fact the ultimate goal in everything, as well as the truest beauty of a musical experience. In this it becomes evident that what one is playing is less of a game and more of a therapy, and




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