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The Immutable Laws of Brainjo: The Art and Science of Effective Practice (Episode 10)

The Laws of Brainjo, Episode 10

The Timeline of Mastery (and the roots of improvisation)

 

Vowel sounds…..3 months

Babbling……6  months

Monosyllabic words (“mama”)….. 9 months

First words….12 months

2-3 word phrases….24 months

Uses tone of voice to add additional meaning…3 years

Carries clear conversations with well developed grammar and articulation…..4 years

Fluent, improvisational speech….5-6 years



 

If you’re a parent, you probably recognize the above chart. These are the language milestones of childhood, the stages through which a developing child moves on their way to achieving fluency in his or her native tongue.

Embedded in this chart are two very important messages that most of us know to be true, even if we’ve never really given it much thought before:

1. Virtually every child moves through the sequence (and exceptions warrant investigations into nervous system disease or dysfunction) and reaches the end goal of fluency, or “improvisational speech.” In other words, like you, the child is able to effortlessly and nearly instantaneously translate thoughts in their mind into a motor program for the vocal cords, in effect turning thoughts into speech in realtime.

2. Every child follows this exact same sequence.

I’ve said before that there’s no better template than the language learning model when it comes to learning music (though I’d argue it’s the ideal template for learning anything).

Fundamentally, our ultimate goal when learning to speak and learning to play an instrument is the same: to turn thoughts into movement. In the case of language, we’re translating concepts or ideas into the movement of the vocal cords. In the case of an instrument, we’re translating musical ideas into movement of the limbs.

But there’s one big glaring difference between language learning and musical instrument learning….

The failure rate!

Whereas the failure rate for language is extraordinarily small,  the failure rate for learning an instrument is extraordinarily high. Especially when you compare the two.

What’s even more remarkable about this discrepancy is that the ability to speak fluently is, if anything, more cognitively sophisticated a task than playing a musical instrument.

So why the difference?

 

A FOOLPROOF SCRIPT

Clearly, there is a component to language development that is hardwired in us from the get go. Parents know that their children learn their native tongue not through some formal curriculum they’ve dreamt up, but almost entirely on their own. You just bring your kid out in the world, sit back and watch as magical things happen inside their noggins over the next few years, and then one day they’re talking back to you!

In this respect we can acknowledge that we’re clearly wired up for this language business at birth. Language has been so critical to our success as a species that our DNA has ensured that we get it right, and so we have neural machinery right out of the gate that helps us do so.

Yet, there are several thousand languages throughout the world, and our DNA doesn’t know at conception whether our language will be Spanish or Swahili. The specific language can’t be hardwired by the time we draw our first breath. Rather, it must be learned.

So how has our DNA/brain solved this problem of ensuring that every human learns to speak?

By hardwiring the learning process.

And not just any learning process. A learning process that, in the absence of disease or deliberate attempts to derail it (i.e. depriving a child of sound), is foolproof.

This is what the developmental milestones are telling us. Every child passes through the same milestones in the same order because each step, and the order in which the child moves through them, is absolutely critical to their ultimate success. In a poly-lingual world, this is how the brain ensures that each human reaches fluency.

What’s more, it’s assumed that every healthy child will move through this process and become an effective speaker. There’s no anxiety about whether or not he or she is gifted enough to learn to do it. It’s just a matter of building up one component skill sufficiently, then moving to the next. While the end result is extraordinary, the process itself is matter-of-fact.

And there’s no real urge to rush the process. We know it doesn’t make sense to start teaching a 6 month how to write poetry in iambic pentameter, nor to become discouraged if he or she can’t carry on a conversation on the finer points of securities trading in overseas markets at the age of 1.

 

A MATTER OF TIME

The most wonderful thing about the human brain is that this capacity to learn, to remold itself in response to environmental demands, remains throughout its life. And this, of course, includes its capacity to learn music.

The only difference is that, unlike in language learning, the script isn’t hard wired. But the principle remains: follow the right path, and success is virtually inevitable. And there’s no skipping ahead, no rushing to the advanced material before the early stuff has been mastered.

Just as every language speaking human passed through the same language milestones, you’ll find the same to be true of musical masters. Though the speed with which they did so may have varied (since the learning script is not hardwired), they all passed through the same sequence in their own pursuit of mastery.

So at this moment eradicate all talk of “bad” and “good” players, musically talented or not, etc. These concepts are useless at best, destructive at worst.

The difference between someone who can play through two tunes at 60 BPM and a master who can play freely in a jam has nothing doing with these sorts of things. It simply has to do with where they currently are on the timeline of musical mastery. One is further along, but the journey can be had by anyone who chooses to walk down the path.

Is the typical 4-year-old child a more talented talker than a babbling infant? Of course not. That’s just outright silly. One is just further along in the timeline of language mastery.

In future episodes, we’ll explore the concept of the timeline of musical mastery in more depth, using the language model as a guide for developing our own set of developmental milestones.

 

Back to the “Laws of Brainjo” Table of Contents

 

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

View the Brainjo Course Catalog

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Clawhammer Tune and Tab of the Week: “Flop-Eared Mule”

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.


In the pantheon of old-time music, there’s no shortage of tunes that pay homage to domesticated farm animals.

Whereas the classical guitarist and violinist’s skill may be measured by his or her purity of tone and clarity of articulation, the old time banjoist and fiddler is judged by his or her ability to faithfully reproduce the sounds of a chicken.

And that’s the way we like it.

We’ve already covered some of the most classic chicken material as part of the Tune of the Week (though there’s certainly more material to be mined from that well) series because, well, you’ve gotta start with the basics. With today’s tune, we’ll attempt to capture the spirit of our beloved equine hybrid, the [flop-eared] mule.

Our journey begins with a happy-go-lucky and instantly likable melody in the key of G. It seems we’re all set for a pleasant jaunt aboard our four-legged companion. All seems to be quite well.

And then comes the B part, and, all of the sudden, we find ourselves in the midst of a surprisingly melodic detour. In the key of D, no less! It seems our mule, a species known for having a mind of its own, now has something entirely different in mind. So we might as well go along for the ride.

Flop Eared Mule

aDADE tuning, Brainjo level 3

Flop Eared Mule, clawhammer banjo tab, part 1

Flop Eared Mule, clawhammer banjo tab par t2

Notes on the tab:

Notes in parentheses are “skip” notes. To learn more about these, check out my video lesson on the subject.

For more on reading tabs in general, check out my complete guide on reading banjo tabs.

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

View the Brainjo Course Catalog

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Clawhammer Core Repertoire: “Colored Aristocracy”

 

Generally speaking, I like to make tunes my own. Meaning that even if I may be playing a tune I didn’t write (which is the case when one is pulling from a traditional repertoire), I still like to interpret the tune in my own way. When setting about to learn a new tune, I may listen to multiple versions, and then start the work of creating my own arrangement once I have an idea in my mind of what it should sound like.

Every now and again, however, I’m so taken with a particular rendition of a tune that I want to learn that particular version, and will tend to stick to it going forward (this sort of thing is of course commonplace in the bluegrass cult of Scruggs, but not nearly so much in the broader world of banjo).

One example: “Colored Aristocracy”, as played by the great Taj Mahal on his album “De Old Folks At Home”. Take a listen.

First time I heard it, I knew I wanted to not just learn the tune, but to try to get as close to Taj’s version as I could. And since posting the tune and tab for the clawhammer tune of the week a few months ago, many others chimed in that they had a similar reaction to mine.

Colored Aristocracy is typically considered a G tune. That’s where the fiddlers tend to play it, so that’s where it shows up in jams.

But, since we’re all about SOLO clawhammer classics here, we needn’t concern ourselves with how them pesky sawstrokers like to do things.

Taj certainly didn’t care. Not only did he change it to the key of C, but he plays it out of the less traditional open C tuning (which we used a few tunes ago with Snowdrop). He adds lots of syncopated goodness and heavy, foot driving backbeat (here’s a typical “G” version on the fiddle for comparison)

 

Step 1: Know Thy Melody

No note hunting shall commence until thy melody can be hummed, whistled, or otherwise brought forth from thine own memory. So listen to the version above (and Taj’s) till you can meet the requisite note hunting conditions.

 

Step 2: Find the Melody Notes

Before we take out our fretboards and go note hunting, let’s make sure we’re all on the same page about the basic melody of this tune. Remember, here, we want to distill this melody down to its essence, minus all the clawhammery bits.

Here’s what I hear as the basic melody (including the “bridge” part):

https://clawhammerbanjo.net/wp-content/uploads/2015/09/colormelody.mp3

 

Notice the difference between this version and the final one in the video – there’s a sizable dose of syncopation in the final arrangement, meaning some of the notes that are played on the beat in this essential melody are shifted to the offbeat in the final version.

Now let’s locate them notes. Make sure you’re in gCGCE tuning, aka “open C”. See if you can find the notes, then check your answer below:

Colored Aristocracy melody tab 1

Colored Aristocracy melody tab 2

Step 3: Add Some Clawhammery Stuff

Now it’s time to add the clawhammery bits! We’ll take that melodic backbone, syncopate a bunch of those melody notes with some well placed hammer ons and pull offs, follow our melody notes with some ditty strums, and….voila, we’ve got a great sounding clawhammer arrangement that’s already pretty close to what Taj plays. Here it is in tab (I’ve also added the opening harmonics on the 12th fret, as Taj does, along with the “bridge” part he plays in the middle of the tune):

Colored Aristocracy Basic Clawhammer tab 1

Colored Aristocracy Basic Clawhammer tab 2

Colored Aristocracy Basic Clawhammer tab 3

Colored Aristocracy Basic Clawhammer tab 4

And here’s what that sounds like:

https://clawhammerbanjo.net/wp-content/uploads/2015/09/colorbasic.mp3

Step 4: Embellish To Taste

Now let’s make a few adjustments to our initial arrangement. For me, this is primarily a matter of adding a few more “syncopated skips” (where a melody note is shifted to a drop thumb, and oftentimes surrounded by “skip notes” to help the shifted note stand out more).

Here’s what the new arrangement looks like tab (and can be heard in the video at the top):

Colored Aristocracy clawhammer banjo tab 1

Colored Aristocracy Clawhammer tab 2

Colored Aristocracy Clawhammer tab 3

Clawhammer Tune and Tab of the Week: “Year of Jubilo + Jubilation Rag”

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.


It’s 2 for 1 tunes today!

“Year of Jubilo” has long been one of my favorite tunes to play (not sure how it’s escaped inclusion in the Tune of the Week for this long!), and it’s one I’ve been playing since my early days of banjo.

Yet, oftentimes while playing it, I’d want to insert a majored 2nd chord (the E major in this case) into that 5th measure and transform the tune into a rag of sorts. It may not surprise you, given my affinity for syncopation, that I’ve long been a huge fan of Ragtime.

So one day I did insert that major 2nd, and another tune fell out of the banjo, one I later dubbed “Jubilation Rag.”

“Year of Jubilo,” aka “Kingdom Coming” (Year of Jubilo could be considered the “fiddle tune” name for this song) , was written by Henry Clay Work (who has several American classics to his name). Written in 1862, the words to it are sung from the perspective of slaves who are imagining their impending freedom, and the fate that may become of their masters once the Union soldiers arrive.

So I like the story these two tunes together tell. Year of Jubilo, a song that celebrates the emancipation of blacks in the American south, leads into a tune that celebrates a genre of music that I not only love dearly, but that likely would’ve never existed were it not for that aforementioned emancipation.

Time to get jubilating!

Year of Jubilo

aDADE tuning, Brainjo level 3

Year of Jubilo clawhammer banjo tab

 

Jubilation Rag

aDADE tuning, Brainjo level 3-4

Jubilation Rag, clawhammer banjo tab, part 1

Jubilation Rag, clawhammer banjo tab, part 2

 

Notes on the tab:

Notes in parentheses are “skip” notes. To learn more about these, check out my [free] video lesson on the subject.

For more on reading tabs in general, check out my complete guide on reading banjo tabs.

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

View the Brainjo Course Catalog

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Clawhammer Tune and Tab of the Week: “Dull Chisel”

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.


Good tunes are like good viruses (“good” from the virus perspective, of course…).

Long before videos of cats playing patty cake and finger-biting infants made it cool, tunes have been going viral. Arguments about whether it’s the result of adaptive selection or an evolutionary byproduct of our linguistic capacity (a “spandrel“, in evolutionary biology terms) aside, our brains are clearly wired for music.

As such, musical memes are particularly good at spreading themselves from one brain to the next.

Good music, in other words, is memorable. We all know that a good earworm has a way of sticking inside of our minds after only one or two listens and crawling around for days, in most cases whether we like it or not.

Some think that the stickiness of musical memories may explain the prevalence of murder ballads in the music that predates mass media. Packaging these stories in musical form may have been less about celebrating the macabre than about optimizing the transmission of a noteworthy event.

It’s also worth noting that without good earworms, we surely wouldn’t have so many great tunes to play. Many of the tunes in the traditional banjo repertoire aren’t still around because they were written and preserved in written form by their creator (this is an aural tradition, after all), but rather because they were successfully passed along generation to generation from one mind to another.

Such is the case with the spread of a good “fiddle” tune. It begins modestly enough inside the mind of a single individual. But, if it’s especially virulent, if by dint of its euphonical quotient it sticks inside the minds of those it enters, and if those minds have access to other minds, then you have the recipe for a full scale epidemic.

I think we’re in the midst of an epidemic (bolstered by the access to other minds now afforded by technology) when it comes to this week’s tune, “Dull Chisel”.

Formed originally inside the mind of the late fiddler Garry Harrison and released on his album “Red Prairie Dawn” (no longer in print, but here’s a short clip of “Dull Chisel” from the album), in short order it found its way in jams and festivals all over, which is a rare thing. Most of the tunes that have become old-time jam staples are centuries old, but every now and then a tune of recent vintage and singular appeal works its way into the mix.

It’s official: Dull Chisel has gone viral. Acquire and infect at will.

 

Dull Chisel

aEAC#E tuning, Brainjo Level 3-4

Dull Chisel clawhammer banjo tab

 

Notes on the tab:

Notes in parentheses are “skip” notes. To learn more about these, check out my [free] video lesson on the subject.

For more on reading tabs in general, check out my complete guide on reading banjo tabs.

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

View the Brainjo Course Catalog

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