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The Immutable Laws of Brainjo: The Art and Science of Effective Practice (Episode 7)

The Laws of Brainjo, Episode 7

Mind Over Matter

 

Not long ago, I wrote a piece for my “Brain on Banjo” article series for the Banjo Newsletter about the benefits of visualization in the banjo learning process.

Multiple studies have demonstrated that many of the benefits of practice, and the attendant changes in neurobiology that accompany them, can be attained simply by imagining yourself practicing.

Even though I’ve studied the human brain for over two decades now, and understand the physiology that supports this process, I still find the whole thing a bit magical – the idea that we can restructure our brains through thought alone seems like the stuff of science fiction. In the article I likened it to using the Force, that gift that allows a Jedi to manipulate the physical world with his or her mind.

In sum, visualization is a super cool and incredibly effective way to augment the learning process.

That said, I also know that if it’s not something you’re used to doing, you may feel a bit lost when it comes to getting started with it. If so, fear not! In this article, I’m going to share a simple procedure to help you get started, one I’d say that pound-for-pound is the most effective way to reap the full benefits of visualization.

More than a learning substitute

The fundamental idea of visualization in the context of skill learning is to simply imagine yourself performing the skill in question. Some folks may misinterpret this to mean that you should imagine watching yourself playing (the name itself is part of the problem, as it implies watching something). This is not the idea. You actually want to imagine yourself doing the activity. You want the first person perspective, not the third.

As I alluded to earlier, multiple studies have shown that this type of first person visualization activates many of the same areas as physical practice. In other words, when done right, many of the same parts of the brain that are active during actual banjo playing are active during imagined banjo playing.

In this sense, visualization can be viewed as a substitute for practice when, for whatever reason, you can’t pick a physical banjo.

But this view sells the technique a bit short, as there are additional benefits – ones that are somewhat unique to those of us learning the music of an aural tradition – that are actually easier to attain through visualization than physical practice.

By definition, when you’re visualizing, in the brain you’re connecting an imagined sound with an imagined feeling – in this case the bodily perceptions that accompany playing.

And, if we consider what types of neural networks that support the skill set of a master musician, this is precisely the thing these networks do. Through years of [the right kind of] practice, the masters have created direct neural mappings between imagined sounds (what they want to play) and movements of their limbs (so that those sounds are emitted through their instrument).

So, when you visualize, you too are building exactly the kind of neural networks that support the highest levels of musical expertise. In fact, you have no other choice. With no tab to look at, no hands to stare at, you’ve removed the visual system from the equation. All that’s left is sound and movement.

Visualization is also a fabulous technique for memorization, and provides an exacting assessment of how well you know a tune. If you can visualize yourself playing a tune from start to finish, then you know with certainty that you’ve got it. If you can’t, then more work is likely needed.

So, now that I’ve hopefully convinced you that visualization belongs in your suite of practice methods, here’s what I think is the perfect way to get started putting it into action.

Step 1: Record yourself playing a tune

Ideally, record yourself playing through a tune you’re still working through, one that you have yet to satisfactorily get “under your fingers” (you can even just record a section you’re finding especially tricky).

Alternatively, and particularly if you’re first starting out, you could begin by recording a tune you already know well. Even in this case, you’ll be reaping some of the benefits (specifically, building those “sound-to-motor” mappings I discussed earlier).

When recording, make sure to play through the piece as slowly as you need to in order to maintain accuracy. Speed is of little importance here. And it’s fine to look at tab or some other written source if needed.

Step 2: Play back your recording at a later time, and visualize while you do

Now, to practice the visualization part, simply play the tune back at a later time (whilst away from your instrument), and visualize yourself playing as you listen.

What you’ll find is that having an auditory cue, and having it be something you’ve already played, will make the visualization part nearly effortless. In fact, most likely the visualization will occur naturally; you almost can’t help but imagine yourself playing when listening to a recording of yourself.

And that’s it. Record yourself, then listen back later and visualize when you do. Over time, you’ll likely reach a point where you can visualize without the recording.

The Time to Visualize

It goes without saying that one of the great benefits of visualization is that it allows you to practice when it’d be otherwise impossible to do so (in the car, walking the neighborhood, while exercising, while engaged in un-stimulating conversation (so I’ve heard)).

But I think the absolute best time, when possible, is right before going to bed – something I do often (it can even double as a cure for insomnia!).

Last month, I covered the topic of how to choose when to practice. As you know, sleep is the time when we grow, the time when the brain does most of its rewiring in support of transforming the experiences of our day into physical memories.

And there I mentioned that the brain, when deciding what of those daily experiences to commit to long term storage, does seem to give priority to activities performed closer to sleep (all those college kids cramming right before bed understand this phenomenon on some level).

Yet, getting in a practice session before hitting the hay isn’t always the most practical thing. So what better way to still reap the benefits of the sleep proximity effect without having to disturb your family or neighbors than to conduct that practice session entirely in your mind? It’s the perfect win-win.

With that, we’ll conclude with…

Brainjo Law #10:Visualize while listening to your recorded playing to build sound to motor mappings.

Episode 8: The Secret To Staying Motivated

Back to the “Laws of Brainjo” Table of Contents

 

About the Author
Dr. Josh Turknett is the creator of the Brainjo Method, the first music teaching system to incorporate the science of learning and neuroplasticity and specifically target the adult learner

Clawhammer Tune of the Week: “Big Liza Jane”

Click here to subscribe to the tune of the week (if you’re not already a subscriber) and get a new tune every Friday, plus tabs to all the ones to date.


Kyle Creed’s sound is one of the most uniquely identifiable amongst all the legends of old-time banjo. His tone alone is unmistakeable, so sought after he’s almost solely responsible for the proliferation of scooped banjo necks.

But his style, and the choices he makes on the banjo, are equally compelling. Sweet and lyrical. Economical and seemingly straightforward, but with hidden complexities that only reveal themselves upon closer inspection.

A few days ago I was listening to his Liberty album when the song “Big Liza” grabbed my ears. It’s not first time that’s happened, yet somehow it had escaped my repertoire until now.

Clearly that needed to change.

As it happens, my daughter Jules and I are in the midst of preparing a set for an upcoming performance, and I thought this song would make a perfect addition. So the two of us set to work on it, the results of which can be heard in the video.

Though I play a few variations along the way in my rendition, I’ve kept the tab pretty true to how Kyle plays it. There are a couple of ways to get that signature roll across the strings that appears in the 10th and 14th measure, and I’ve tabbed out both. The first, as in measure 10, is to use the “Galax lick” by executing a slow strum across the strings and then following it with a thumb on the 5th.

The other is to drag the picking finger (indicated with the letter “M” for middle) across strings 1 through 3, a move that was popular in the minstrel style. To my ear, this sounds like what Kyle does. Either way sounds good.

Also, in the video I’m tune to the key of D#, or up a half step from “double D”.

Big Liza Jane

aDADE tuning, Brainjo level 3-4

Big Liza tab

For info on how to interpret the tabs, check out my “How to Read Banjo Tabs” post.

About the Author
Josh Turknett is founder and lead brain hacker at Brainjo Productions

Clawhammer Core Repertoire Series: “Needlecase”


Boy are we lucky to be alive in these times. With so much great music now literally at our fingertips, the hardest part about creating these Core Repertoire installments is choosing what tune to do.So you know if a tune makes the cut, it has to be pretty special.

This month’s installment, “Needlecase”, was popularized by the great fingerpicking banjoist Sam McGee. It is thought that he likely wrote the tune as well. And given his penchant for crafting infectious melodies, I can believe it.

And while this tune may have first been plucked into the sonic ether at the hands of an up-picking practitioner, it has since become quite popular amongst the downpicking set. So whether you choose to flick your finger towards the ceiling or the floor, you can enjoy McGee’s masterpiece.

 

Step 1: Know thy Melody

Take a listen to the tune (from the video above) as many times as it takes to etch its melodic essence into your noodle . This is one catchy little tune, so I imagine it won’t take too long to do so.

Once you’ve got it, and can hum or whistle along, you’re ready to proceed to step 2.

 

Step 2: Find the Melody Notes

Next up, it’s time to search our fretboard for our melodic suspects.

Needlecase is in the key of D, so get thy banjo into the downpicker’s D tuning of choice, aDADE. Once, see if you can find the core notes of this tune on your banjo.

Here’s what I hear as the essential melody:

https://corerepertoire.s3-us-west-2.amazonaws.com/needlecase-melody.mp3

And here’s that tabulationally displayed:

Step 3: Add Some Clawhammery Stuff

Now let’s insert that melody into the bum-dittificator and see what we get. We’ll keep all the notes from our core melody that occur on the downbeat, and then add on a ditty strum after each one (notes in bold are the melody notes we’ve left in):

And it sounds like this:

https://corerepertoire.s3-us-west-2.amazonaws.com/needlecase-basic.mp3

 

Step 4: Embellish to Taste

Depending on your stylistic preference, you can take this arrangement further into “melodic clawhammer” territory by including more of the melody notes. The version I play in the initial video would be best characterized as a “melodic” version, as I’ve included every melody note possible (doing so, however, means that I can no longer maintain a particular rhythmic pattern (i.e. “bum ditty”, etc.) throughout the arrangement.

Here’s what that melodic version looks like in tab:

Go to the Core Repertoire Series Table of Contents

Clawhammer Tune of the Week: “New Five Cent Piece”

Click here to subscribe to the tune of the week (if you’re not already a subscriber) and get a new tune every Friday, plus tabs to all the ones to date.
 


New Five Cent Piece.

I think there are a couple of plausible theories regarding the naming origin story for this week’s tune (and if anyone knows the actual answer, please share!).

One is that it refers to the introduction of the first nickel containing five cent piece in 1866. Up until this point, coins of this denomination were comprised of silver, so the ones with nickel were the “new” five cent pieces.

The other, which may be my own pet theory, is that it is intended to evoke the thought of a person who’s just come into a bit of money and feeling pretty good about themselves. The tune has a natural swing to it, and I always imagine someone walking down the street with an extra bounce in his or her step, presumably thanks to the newfound wealth tucked safely away in their pant pocket.

Regardless, it’s loads of fun to play, and guaranteed to put you in a cheerful mood.

New Five Cent Piece

aDADE tuning, Brainjo level 3-4

New 5 cent 1

New 5 cent piece 2

About the Author
Josh Turknett is founder and lead brain hacker at Brainjo Productions

Clawhammer Tune of the Week: “Rockingham Cindy”

Click here to subscribe to the tune of the week (if you’re not already a subscriber) and get a new tune every Friday, plus tabs to all the ones to date.


As a banjo player, there are few things in life that can compare with sharing a tune with a fiddler.

Especially when it’s a tune you really, really like with a fiddler who’s really, really good.

Earlier this week, I headed about 60 miles east to visit my friend and fellow Georgian, Justin Manglitz. I’d coaxed Justin into lending his bowing services for a lesson on playing with a fiddler I’m working on for the Breakthrough Banjo course (okay, so maybe it was just a thinly veiled attempt to let me invade his home to share a few tunes).

Fortunately, we like a lot of the same tunes, including this week’s tune of the week installment: “Rockingham Cindy”. It has a disarmingly gorgeous melody, like so many others in the Round Peak tradition.

And yes, it’s a little bit crooked, too, which is probably why it’s often displaced in jams by its more well known cousin, “Cindy.”

But don’t let that stop you. It’s well worth wrapping your brain around the crookedness to get this one under your fingers.

Rockingham Cindy

aDADE tuning, Brainjo level 3

Rockingham Cindy tab

About the Author
Josh Turknett is founder and lead brain hacker at Brainjo Productions

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