Guitar 202
July 2006 Volume 1 (Issue 1)
Learn all you can...Then forget it!
Brain Function & Improvising
Many of my more advanced students expect that when we explore the topic of improvising and soloing, that initially I will show them how to resolve technique issues. ("How do I play this or that scale" or "show me that lick"). They are generally surprised that I don't discuss technique much at first. Mainly because most developed players don't really have technique issues to resolve. Most of their issues are centered around the way they hear things and how they express themselves. I try to help them cultivate their own musical identity by discovering how to tap into what's inside of them as an artist. Therefore, I begin by exploring the theory of how the brain works when it comes to playing.
I am a believer in the theory that certain activities of the brain have been divided into the two hemispheres. This theory also suggests that many people prefer one side (or method) of brain function over the other. Our western culture, particularly in the academic arena, tends to prefer teaching us to deploy our left brain more-so than the right. When it comes to improvising, however, the goal is to acheive more of a "whole brain" approach to playing. I personally have some expanded ideas on this that we will discuss later in the article, but for now, lets explore the overall theory by looking at the image below.
Also to note, that the physiology of brain function is also divided. In other words each half of the brain also controls one half of the body. However, the functions are inverted, in so much that each side of the brain controls the opposite side of the body. (Right Brain = Left side). This issue presents a paradox, because most musicians use both hands when playing. Therefore, the entire brain is at work coordinated in such a way that what is expressed in music is indeed a combination of both sides.
I would also like to add to the discussion an analogy for those of you who are familiar with computers. The brain is one incredibly sophisticated network of storage devices much like computers. Computers manage a large framework of mathematical equations to handle input and output in special areas called “random access memory” also known as RAM. Input is placed into the system by any number of devices; a mouse, keyboard, scanner etc...Then, depending on what the system has been instructed to do via the software program that is running, a series of equations is then processed on the input information and output information is generated. That output may be a picture on a screen, a printed page or a sound etc. The way computers handle information is a very primitive, but effective way of demonstrating how the brain also works.
Since this article is about soloing and improvising, let's proceed on to how this theory will apply to the way we approach our instruments. For the sake of brevity, let's classify what we hear, or expect to hear as input, and what we play as output. Our brain however, is faster and more efficient than any computer known to man, and based on any number of previously solved equations, it is able to anticipate rather than just respond to, any number of situations. In other words we can predict what will come next and instantaneously respond to it. That is what improvisation is all about. Improvisation is our response and expression to the musical context which we hear, or expect to hear.
Since we are primarily dealing with brain function let's look at something else. All areas of the brain are essentially storage devices. In most of our daily mundane activities we are either in one state of brain function or the other. For example, as I am composing this article and typing, I am primarily functioning with the left side of my brain. In that I must logically determine the message that I wish to convey, contemplate the sequential order by which I am to convey the idea, then verbally express it. As the left side of my brain is in primary control, the right side is serving as a storage and retrieval access point. However, if I am driving a car or performing some other function which requires me to engage my concentration in real time, I would be using more of the right side of my brain.
I like to look at improvising a lot like driving a car. Even though the road that I am traveling on may be familiar, I must be able to respond to road and traffic conditions as well as the feel and performance capabilities of my vehicle. This is not to say that as I am driving, I would be exclusively operating in “right brain mode” but only to demonstrate how, for most activities, we will be using a majority of one side or the other.
Using the analogy that improvising or soloing over a musical composition is much like driving a car, let's expand on that picture. The vehicle is my instrument. The chordal progressions and melodic structure of the tune itself may be considered as the road. The complexity, mood, tempo or density of the song may be likened to the traffic conditions by which I must maneuver. Finally, my own responses to all of these conditions determine if I keep riding along, get lost on the journey, or simply crash.
The Zone!
As I stated earlier, when performing most routine tasks, our brains will favor one side (or mode) over the other. However, what most artists seek to attain is more of a moderated or “whole brain” function. When a person is in the mental state where both sides of the brain control the somatic (muscular) functions of the body, this is when their artistic expression is the most pure. This is what athletes and performing artists refer to as “The Zone”. It is that special frame of mind that we enter into when we are acting upon what we expect to happen and creating, for that instant, a response that we feel is appropriate. For musicians, it is a frame of mind that places us more in the role of listener than performer. It is almost akin to being outside of your body, and allowing the senses to be in control of your performance. It becomes a matter of allowing yourself to be a member of the audience. In order for this to take place, the left or analytical side of brain must relinquish primary control of the muscular functions of the body, and allow the creative/expressive side to take over.
As I metioned earlier, our brains are like a supercomputer that can anticpate situations and draw from itself, solutions based upon previously solved equations. These solutions remain stored in the creative side of the brain. This brings me to the subject of muscle memory.
Muscle Memory
Muscle memory is a physiological phenomenon in which the brain has been “programmed” to send a macro of routines (conditioned responses) to certain parts of the body. In the case of most musicians those parts would primarily be the hands. These routines are executed without any forethought or contemplation. In fact, they are mostly felt rather than thought through, which means that their execution is nearly automatic. This is because they are stored in the creative and not the analytical side of the brain. I approach the subject of muscle memory in several ways when it comes to music. One is that “perfect practice” not just practice alone makes perfect. In other words, what we train our muscles to do by rote, will become a conditioned response later on. Therefore, our approach to practicing should be upon accuracy and not speed.
Secondarily, When I am practicing, what I am actually doing is programming my brain, not just my muscles, with these sequences. I am training my hands and ears to know what each particular scale, pattern, coil, riff or whatever else I want to call it, feels and sounds like. It is important to remember that the purpose of practice is to program the brain to be able “fire off” these macros in a way that fits the context of what we are playing, not just for the generic sense of learning them. More macros you have stored inside of your brain may give you a large musical “vocabulary” but vocabulary is insignificant without context. Discovering context is the most important goal because what you are looking to do is make a musical statement. Just as in any other conversation, you want your statements to reflect your thoughts and passions and most of all…to be understood by your audience. Without being understood, you risk the danger of boring or losing your audience altogether.
Sleep & Brain Function
One final thought concerning brain function, is on the subject of sleep. The importance of proper rest cannot be understated. While we are awake and experiencing our day to day lives, our brains are acquiring huge amounts of information. Some of this information is new and unfamiliar to us. As this new information is acquired, our minds need time to determine what to do with it. Most new things that come to our minds deposit themselves on the left side of our brains, which is the assimilative or cognitive side. This is where the importance of sleep comes in. As we sleep an interesting thing happens inside our brains. New information is transferred, collated, stored, and referenced for future use, on the right side of the brain. This transfer process can only take place while we are asleep. Why? Simply because, while we are conscious, the majority of mental energy is exerted by the left side of the brain. In order for collation and storage processes to properly take place on the right side we must completely allow the left side to shut down and "download". Let me give you an illustrative example which some of you may be able to relate to.
"Let Me Sleep on it".
Have you ever started a new job that required you learn something that was completely unfamiliar but extremely challenging to you? After work you went home, went to bed and dreamed about work. The next day you returned and the challenges that confronted you were then manageable. This is because, as we sleep, (particularly as we enter into REM sleep, where dreams occur) our brains are collating and storing new information. Problem solving is a part of the collation process, as the brain determines where to connect and archive this newly acquired information. Muscle memory is also a part of the collation process. When I practice, I am primarily in left brain mode, because I have to analyze in sequence what I desire to learn. However in order to allow my brain the time to adjust to this newly acquired information, I must allow myself time to rest. Therefore proper rest is important to our entire being, not just the body. Next month we will discuss good practice habits and Guitar Physiology.
In closing, let me recap on a subject that I touched upon earlier. That is education, and more specifically music education. Most of music academia is centered around sight-reading, technique, structure, and assimilation. In fact the majority musicians are taught to read music and to gather their ideas in a very assimilative way. This is why many skilled classically trained musicians, although highly proficient as readers and rote performers, get lost in a style of music, like jazz, or a composition that requires improvisation. I do not intend to under-emphasize the importance of music education. While it is very important to learn to read music and study technique etc...it should equally important for those who wish to pursue music as art, to learn how to engage the right side of the brain as well. As Mahavishnu John McLaughlin once said, "learn all you can...then forget it and just play!"...more to come!
Godspeed!
O.J.
