The Locrian Mode: What is it? Why should musicians learn it?

The Locrian Mode

The Locrian mode is a musical mode that is characterized by a natural minor scale with a lowered second and fifth scale degree. It is the least commonly used of the church modes and is often used in music with a dissonant or unstable character.

How to play the Locrian mode on the Mandolin

It is important for musicians to learn the Locrian mode because it is a fundamental building block of Western music theory. Understanding the Locrian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Locrian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

In modern music, the Locrian mode is used in a variety of genres, including jazz, rock, and classical. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Locrian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

The Locrian Mode: What is it? Why should musicians learn it?

The Locrian Mode

The Locrian mode is a musical mode that is characterized by a natural minor scale with a lowered second and fifth scale degree. It is the least commonly used of the church modes and is often used in music with a dissonant or unstable character.

How to play the Locrian mode on the Mandolin

It is important for musicians to learn the Locrian mode because it is a fundamental building block of Western music theory. Understanding the Locrian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Locrian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

In modern music, the Locrian mode is used in a variety of genres, including jazz, rock, and classical. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Locrian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

The Aeolian Mode: What is it? Why should musicians learn it?

 

The Aeolian Mode

The Aeolian mode is a musical mode that is characterized by a natural minor scale. It is named after the ancient Aeolians and is often used in music with a sad or introspective character.

How to play the Aeolian mode on the Mandolin

It is important for musicians to learn the Aeolian mode because it is a fundamental building block of Western music theory. Understanding the Aeolian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Aeolian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

In modern music, the Aeolian mode is used in a variety of genres, including rock, jazz, and classical. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Aeolian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

The Aeolian Mode: What is it? Why should musicians learn it?

 

The Aeolian Mode

The Aeolian mode is a musical mode that is characterized by a natural minor scale. It is named after the ancient Aeolians and is often used in music with a sad or introspective character.

How to play the Aeolian mode on the Mandolin

It is important for musicians to learn the Aeolian mode because it is a fundamental building block of Western music theory. Understanding the Aeolian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Aeolian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

In modern music, the Aeolian mode is used in a variety of genres, including rock, jazz, and classical. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Aeolian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

The Mixolydian Mode: what is it? how is it used today? Why is it important to learn?

The Mixolydian Mode

The Mixolydian mode is a musical mode that is characterized by a major scale with a lowered seventh scale degree. It is often used in bluegrass, blues and rock music.

How to play the Mixolydian mode on the Mandolin

In modern music, the Mixolydian mode is used in a variety of genres, including blues, rock, jazz, and folk. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Mixolydian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

It is important for musicians to learn the Mixolydian mode because it is a fundamental building block of Western music theory. Understanding the Mixolydian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Mixolydian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

The Mixolydian Mode: what is it? how is it used today? Why is it important to learn?

The Mixolydian Mode

The Mixolydian mode is a musical mode that is characterized by a major scale with a lowered seventh scale degree. It is often used in bluegrass, blues and rock music.

How to play the Mixolydian mode on the Mandolin

In modern music, the Mixolydian mode is used in a variety of genres, including blues, rock, jazz, and folk. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Mixolydian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

It is important for musicians to learn the Mixolydian mode because it is a fundamental building block of Western music theory. Understanding the Mixolydian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Mixolydian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

The Lydian Mode: what is it? how is it used today? Why is it important to learn?

The Lydian Mode

The Lydian mode is a musical mode that is characterized by a major scale with a raised fourth scale degree. It is named after the ancient Lydians and is often used in music with a bright or luminous character.

How to play the Lydian Mode on the Mandolin

In modern music, the Lydian mode is used in a variety of genres, including jazz, pop, rock, and electronic. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Lydian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

It is important for musicians to learn the Lydian mode because it is a fundamental building block of Western music theory. Understanding the Lydian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Lydian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

The Lydian Mode: what is it? how is it used today? Why is it important to learn?

The Lydian Mode

The Lydian mode is a musical mode that is characterized by a major scale with a raised fourth scale degree. It is named after the ancient Lydians and is often used in music with a bright or luminous character.

How to play the Lydian Mode on the Mandolin

In modern music, the Lydian mode is used in a variety of genres, including jazz, pop, rock, and electronic. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Lydian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

It is important for musicians to learn the Lydian mode because it is a fundamental building block of Western music theory. Understanding the Lydian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Lydian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

The Phrygian Mode: what is it? how is it used today? Why is it important to learn?

The Phrygian Mode

The Phrygian mode is a musical mode that is characterized by a natural minor scale with a lowered second scale degree. It is named after the ancient Phrygians and is often used in music with a Spanish or Middle Eastern flavor.

How to play the Phrygian Mode on the Mandolin

In modern music, the Phrygian mode is used in a variety of genres, including jazz, blues, rock, and folk. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Phrygian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

It is important for musicians to learn the Phrygian mode because it is a fundamental building block of Western music theory. Understanding the Phrygian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Phrygian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

The Phrygian Mode: what is it? how is it used today? Why is it important to learn?

The Phrygian Mode

The Phrygian mode is a musical mode that is characterized by a natural minor scale with a lowered second scale degree. It is named after the ancient Phrygians and is often used in music with a Spanish or Middle Eastern flavor.

How to play the Phrygian Mode on the Mandolin

In modern music, the Phrygian mode is used in a variety of genres, including jazz, blues, rock, and folk. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Phrygian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

It is important for musicians to learn the Phrygian mode because it is a fundamental building block of Western music theory. Understanding the Phrygian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Phrygian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

The Dorian Mode: what is it? how is it used today? Why is it important to learn?

The Dorian Mode

The Dorian mode is a musical mode that is characterized by a natural minor scale with a raised sixth scale degree. It is named after the ancient Greek Dorians and is often used in music with a somber or mournful character.

How to play the Dorian Mode

In modern music, the Dorian mode is used in a variety of genres, including jazz, blues, rock, and folk. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Dorian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

It is important for musicians to learn the Dorian mode because it is a fundamental building block of Western music theory. Understanding the Dorian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Dorian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

The Dorian Mode: what is it? how is it used today? Why is it important to learn?

The Dorian Mode

The Dorian mode is a musical mode that is characterized by a natural minor scale with a raised sixth scale degree. It is named after the ancient Greek Dorians and is often used in music with a somber or mournful character.

How to play the Dorian Mode

In modern music, the Dorian mode is used in a variety of genres, including jazz, blues, rock, and folk. It is often used to create melodies and harmonies, and it is a popular choice for improvisation. The Dorian mode is also used in modal jazz, which is a style of jazz that is based on the use of modes rather than traditional chord progressions.

It is important for musicians to learn the Dorian mode because it is a fundamental building block of Western music theory. Understanding the Dorian mode and how it works can help musicians to better understand the structure and construction of melodies and harmonies, and to develop their musical skills and knowledge. Additionally, learning the Dorian mode can help musicians to improvise and create music in a wide variety of styles and genres, as it is a versatile and widely used mode.

The Church Modes: What are they? who invented them? how are they used today? why should musicians learn them? how are they used in music?

The Church Modes

The seven church modes, also known as the "modes of ancient Greek music," are a set of seven musical modes that were used in Western liturgical music from the 9th to the 13th centuries. These modes were derived from the musical modes of ancient Greek music and were used to set the melodies of hymns and other religious music in the Christian church.  The church modes are a set of musical modes that were used in the medieval period, particularly in Gregorian chant. There are seven church modes, each with a distinct set of characteristics and uses. The modes are:

1.  Ionian mode: This mode is characterized by a major scale. It is named after the ancient Ionians and is often used in music with a joyful or celebratory character.
2.  Dorian mode: This mode is characterized by a natural minor scale with a raised sixth scale degree. It is named after the ancient Greek Dorians and is often used in music with a somber or mournful character.
3.  Phrygian mode: This mode is characterized by a natural minor scale with a lowered second scale degree. It is named after the ancient Phrygians and is often used in music with a Spanish or Middle Eastern flavor.
4.  Lydian mode: This mode is characterized by a major scale with a raised fourth scale degree. It is named after the ancient Lydians and is often used in music with a bright or luminous character.
5.  Mixolydian mode: This mode is characterized by a major scale with a lowered seventh scale degree. It is named after the ancient Mixolydians and is often used in blues and rock music.
6.  Aeolian mode: This mode is characterized by a natural minor scale. It is named after the ancient Aeolians and is often used in music with a sad or introspective character.
7.  Locrian mode: This mode is characterized by a natural minor scale with a lowered second and fifth scale degree. It is the least commonly used of the church modes and is often used in music with a dissonant or unstable character.

How to play the Modes on the Mandolin

It is not known who invented the seven church modes, but they were likely developed by ancient Greek musicians and were later adopted and adapted by the Christian church. Today, the church modes are still used in certain styles of classical and religious music, and they are also used as a theoretical framework for understanding and creating melodies in various musical styles. The church modes are not as commonly used as they were in the medieval period, but they are still studied by musicians as a way of understanding the foundations of Western music theory. Musicians may learn the church modes to broaden their understanding of different tonal systems and to develop their ability to create and analyze music in different modes. In modern music, the church modes are sometimes used to create melodies or harmonies, or as a basis for improvisation.

Musicians should learn the church modes because they provide a foundation for understanding the structure and organization of melodies in Western music. By learning the church modes, musicians can develop a deeper understanding of the relationship between different notes and chords in a melody, and they can use this understanding to create more expressive and nuanced music. In addition, learning the church modes can also help musicians to become more familiar with the historical and cultural context of Western music, which can deepen their appreciation for different musical styles and traditions.

The Church Modes: What are they? who invented them? how are they used today? why should musicians learn them? how are they used in music?

The Church Modes

The seven church modes, also known as the "modes of ancient Greek music," are a set of seven musical modes that were used in Western liturgical music from the 9th to the 13th centuries. These modes were derived from the musical modes of ancient Greek music and were used to set the melodies of hymns and other religious music in the Christian church.  The church modes are a set of musical modes that were used in the medieval period, particularly in Gregorian chant. There are seven church modes, each with a distinct set of characteristics and uses. The modes are:

1.  Ionian mode: This mode is characterized by a major scale. It is named after the ancient Ionians and is often used in music with a joyful or celebratory character.
2.  Dorian mode: This mode is characterized by a natural minor scale with a raised sixth scale degree. It is named after the ancient Greek Dorians and is often used in music with a somber or mournful character.
3.  Phrygian mode: This mode is characterized by a natural minor scale with a lowered second scale degree. It is named after the ancient Phrygians and is often used in music with a Spanish or Middle Eastern flavor.
4.  Lydian mode: This mode is characterized by a major scale with a raised fourth scale degree. It is named after the ancient Lydians and is often used in music with a bright or luminous character.
5.  Mixolydian mode: This mode is characterized by a major scale with a lowered seventh scale degree. It is named after the ancient Mixolydians and is often used in blues and rock music.
6.  Aeolian mode: This mode is characterized by a natural minor scale. It is named after the ancient Aeolians and is often used in music with a sad or introspective character.
7.  Locrian mode: This mode is characterized by a natural minor scale with a lowered second and fifth scale degree. It is the least commonly used of the church modes and is often used in music with a dissonant or unstable character.

How to play the Modes on the Mandolin

It is not known who invented the seven church modes, but they were likely developed by ancient Greek musicians and were later adopted and adapted by the Christian church. Today, the church modes are still used in certain styles of classical and religious music, and they are also used as a theoretical framework for understanding and creating melodies in various musical styles. The church modes are not as commonly used as they were in the medieval period, but they are still studied by musicians as a way of understanding the foundations of Western music theory. Musicians may learn the church modes to broaden their understanding of different tonal systems and to develop their ability to create and analyze music in different modes. In modern music, the church modes are sometimes used to create melodies or harmonies, or as a basis for improvisation.

Musicians should learn the church modes because they provide a foundation for understanding the structure and organization of melodies in Western music. By learning the church modes, musicians can develop a deeper understanding of the relationship between different notes and chords in a melody, and they can use this understanding to create more expressive and nuanced music. In addition, learning the church modes can also help musicians to become more familiar with the historical and cultural context of Western music, which can deepen their appreciation for different musical styles and traditions.

Practicing Tips & Tricks

Daily Practice - A Reminder, A Checklist

It's absolutely critical that you practice at least something every day!  What you practice is also critical.  Just playing a few tunes, or jamming with friends is only one part of daily practice (the fun part!).

Divide your practice time into three parts of equal length.  That means, if you practice 30 minutes a day, each chunk will be 10 minutes.

First part: A Daily Scale "Set"

• each day play a different scale set from the circle of fifths (if you're practicing bluegrass music), otherwise a different tonic set using the 7 church modes
• practice 2 octaves, use 4th fingers always
• remember where to shift when playing in 3rd and 4th positions
• fiddlers: practice the 4 bowing patterns with each scale
• mandolinists: practice the 5 picking patterns with each scale
• circle of fifths: practice the major AND the relative minor with each set
• modes: practice all 7 modes
• practice the arpeggios for each scale (1,3,5,8)

Second part: New Material

• Sight read assigned new material
• Practice first measure, slowly, without ornamentation or bowing until you have the notes down, then go on to 2nd, 3rd, 4th measures
• After you have the measures well established, add any ornamentation and bowings as indicated in the sheet music or by your instructor
• Don't try to learn the whole piece in one "chunk".  It's better to master one 4 bar phrase than to play the whole piece poorly

Third part: Review & Sight Reading, having fun!

• Jam with friends/family
• Review old material, work on the hard parts
• Sight Read out of the Fiddler's Fakebook or any other book as assigned by your instructor

Practicing Tips & Tricks

Daily Practice - A Reminder, A Checklist

It's absolutely critical that you practice at least something every day!  What you practice is also critical.  Just playing a few tunes, or jamming with friends is only one part of daily practice (the fun part!).

Divide your practice time into three parts of equal length.  That means, if you practice 30 minutes a day, each chunk will be 10 minutes.

First part: A Daily Scale "Set"

• each day play a different scale set from the circle of fifths (if you're practicing bluegrass music), otherwise a different tonic set using the 7 church modes
• practice 2 octaves, use 4th fingers always
• remember where to shift when playing in 3rd and 4th positions
• fiddlers: practice the 4 bowing patterns with each scale
• mandolinists: practice the 5 picking patterns with each scale
• circle of fifths: practice the major AND the relative minor with each set
• modes: practice all 7 modes
• practice the arpeggios for each scale (1,3,5,8)

Second part: New Material

• Sight read assigned new material
• Practice first measure, slowly, without ornamentation or bowing until you have the notes down, then go on to 2nd, 3rd, 4th measures
• After you have the measures well established, add any ornamentation and bowings as indicated in the sheet music or by your instructor
• Don't try to learn the whole piece in one "chunk".  It's better to master one 4 bar phrase than to play the whole piece poorly

Third part: Review & Sight Reading, having fun!

• Jam with friends/family
• Review old material, work on the hard parts
• Sight Read out of the Fiddler's Fakebook or any other book as assigned by your instructor

Mandolin Chord Chart and Suggestions for Learning Chords

mandolin chords

MANDOLIN CHORD SUGGESTIONS FOR LEARNING

Chords are made from arpeggios, which come from scales.  I've talked before about the 7 "Church" modes, or Canonical Modes as they are also called: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian.   Of those modes, the most commonly used are Ionian (Major) and Aeolian (Relative Minor).  The intervals of the Ionian (Major) mode are R,W,W,H,W,W,W,H R=Root, W=Whole, H=Half.  The intervals of the Aeolian (Relative Minor) mode (starting on the 6th note of the Major scale), are R,W,H,W,W,H,WW.  If you assign each interval with a number, then the notes of the scales will be 1,2,3,4,5,6,7,8 with 8 (the octave) being a repeat of 1 (the tonic or first note).  The notes of the arpeggio will always be 1,3,5,8 - regardless of the notes of the scale, or the mode.  

For example:

G Ionian (Major): G,B,D,G

G Aeolian (Relative Minor): E,G,B,E

Using the example above for the key of G, you want to make up your chord with any of the above notes: G,B,D,G for the Major and E,G,B,E for the Relative Minor.

OPEN CHORDS VS CLOSED CHORDS

One of the advantages of the mandolin is that it can be played like a percussion instrument in addition to providing melody and harmony.  The mandolinist has to decide what he/she wants to provide in the way of accompaniment.  If the mandolinist wants a short percussive sound (called a "chop" in bluegrass vernacular), then he/she has to use "closed chords".  Closed chords indicates a finger on each string, "closing" the ringing of the strings.  Every mandolinist has to learn the "Big G", which uses all 4 fingers with fingers on the B (a string), G (e string), G (d string), D (g string).  This is a "closed chord" because all of the strings are "closed" by a finger.  If the mandolinist wants a sound that rings (like a harp, for example), then he/she will play "open chords".  Open chords have one or more string pairs untouched by fingers allowing them to ring when struck by the pick.  Using the G example, a good open G is B (a string), and G (e string), open D and open G.

Typical styles of music that use open or closed chords are:

• Celtic: open
• Bluegrass: closed
• Folk: either
• Country: closed
• Klezmer: open

I hope this is helpful, here's the video:

Practice Your Scales!

On a calendar, plot a daily practice schedule of a different scale set each day.  That way you practice each scale in the circle of fifths, its arpeggio and relative minor with a group of picking patterns (for guitar and mandolin) and bowing patterns (for violin, viola and cello).

Practice 2 octaves, always use 4th finger, root the first finger in each position.  

• For pickers, practice each scale and arpeggio with 4 quarter notes down up down up, 8 8th notes and 6 8th notes per note.  
• For bowers, practice 1 whole note (frog to tip), 4 quarter notes (middle to tip), 8 8th notes (upper 1/3rd to tip), 2 triplets (upper 1/3rd to tip)

Calendar:

1. Monday: C major, arpeggio; a minor, arpeggio
2. Tuesday: G major, arpeggio, e minor, arpeggio
3. Wednesday: D major, arpeggio, b minor, arpeggio
4. Thursday: A major, arpeggio, f# minor, arpeggio
5. Friday: E major, arpeggio, c# minor, arpeggio
6. Saturday: B major, arpeggio, g# minor, arpeggio
7. Sunday: F# major, arpeggio, d# minor, arpeggio
8. Monday: C# major, arpeggio, a# minor, arpeggio
9. Tuesday: F major, arpeggio; d minor, arpeggio
10. Wednesday: Bflat major, arpeggio; g minor, arpeggio
11. Thursday: Eflat major, arpeggio; c minor, arpeggio
12. Friday: Aflat major, arpeggio; f minor, arpeggio
13. Saturday: Dflat major, arpeggio; b flat minor, arpeggio
14. Sunday: Gflat major, arpeggio; eflat minor, arpeggio
15. Monday: Cflat major, arpeggio; aflat minor, arpeggio

Blues Mandolin - Part Four - "Practicing The Blues Scale"

The Blues scale consists of 6 different notes.  They are the 5 notes of the minor pentatonic scale, plus one additional note.  The note added is the diminished 5th (o5) measured from the scale tonic.

For example :

• adding to the C minor pent. scale : C - Eb - F - G - Bb - C
• the diminished 5th - Gb
• produces the C Blues scale : C - Eb - F - Gb - G - Bb - C

In relation to the Major scale the notes of the Blues scale are : 1 - b3 - 4 - b5 - 5 - b7 - 1.  The b3, b5 and b7 notes of the scale (for C Blues scale : Eb, Gb and Bb) are the so called blue notes of the scale.

Here are the Blues scales in all 12 keys listed in Circle of Fifths order.

•     C Blues scale     C - Eb - F - Gb - G - Bb - C
•     G Blues scale     G - Bb - C - Db - D - F - G
•     D Blues scale     D - F - G - Ab - A - C - D
•     A Blues scale     A - C - D - Eb - E - G - A
•     E Blues scale      E - G - A - Bb - B - D - E
•     B Blues scale      B - D - E - F - F# - A - B
•     F# and Gb Blues scales     F# - A - B - C - C# - E - F#,     Gb - A - B - C - Db - E - Gb
•     Db and C# Blues scales     Db - E - Gb - G - Ab - B - Db,     C# - E - F# - G - G# - B - C#
•     Ab Blues scale    Ab - B - Db - D - Eb - Gb - Ab
•     Eb Blues scale    Eb - Gb - Ab - A - Bb - Db - Eb
•     Bb Blues scale    Bb - Db - Eb - E - F - Ab - Bb
•     F Blues scale       F - Ab - Bb - B - C - Eb - F 

Each day, practice a different Blues Scale from this list, or if you are currently practicing the major and relative minor from the Circle of Fifths, add the Blues Scale to your daily practice.

It's recommended that you practice these scales with the following picking patterns:

• 4 quarter notes per note: down up down up
• 8 eighth notes per note: down up down up
• 2 sets of triplets per note (3 notes each): down up down, up down up
• 1 tremolo (4 beats long) per note

Your Brain on Practice

by Jenna Bauer

In order to attain a high level of mastery on the violin, it is crucial to understand the mechanics of our brains, as many great pedagogues have demonstrated. With this in mind, I wasn’t surprised when I uncovered a commonality between Ivan Galamian’s Principles of Violin Playing & Teaching and neuroscientist David Eagleman’s latest book, Incognito: The Secret Lives of the Brain.
Both texts bring out an explicit fact: the brain is jam-packed with antics and we are completely unaware that we are the subject of its pranks. Why is it that when you hear a recording of your own voice, or the “voice” you’ve developed through the violin, you’re taken aback that the sound is not what you expected...or wanted?

Galamian coins this as subjective listening. You believe you are hearing the sound correctly, but your desires and expectations mask the actual sound being produced. Our brains persistently conceal the reality of our interactions with the world to make everything more rewarding. While this may help combat self-hate, for a violinist it can be incredibly detrimental. The squishy organ in your head will gladly tell you that you’re in tune and in time even when you’re not. Eagleman illustrates this phenomenon in hearing, sight and time perception.

So how can you possibly defeat something so innate? Well the good news is, as Galamian writes, you can train your brain to hear more objectively. This is why violin teachers have always stressed the importance of using a tuner and a metronome in daily practice. Recording yourself regularly and singing are also effective ways to catch mental mishaps. But these devices alone will not save you from the toils of your brain.

There are three key areas Galamian points to, which need to be addressed every time you practice: building time (technicality), interpreting time (musicality) and performance time (complete run through of a work). But this is just the start. How can you use your brain most effectively during these stages of practice?

If your unconscious is allowed to take the reigns during building and interpreting time, then your conscious (the area you converse with regularly) becomes free to wander to beaches and meadows. Typically musicians refer to this as auto-pilot mode. In this instance, your mistakes go unnoticed and your practice becomes futile; the music becomes stored in the unconscious area of your brain, as is.

By this point you must be wondering: do great soloists tune out their conscious mind when they perform? Eagleman makes the point that in athletics, fastball hitters and world cup tennis players don’t have time to consciously think about the moves they make. All of their motions and reactions have been stored in the unconscious during practice time. When it’s game time their conscious awareness is better left on the sidelines. Similarly, the pro golfer is at a disadvantage if he becomes overly analytical: the unconscious area of his brain has stored the information necessary to execute the perfect swing, leaving his conscious clueless as to how he actually does it. What this tells me is that once you decide to run the piece all the way through (performance time) you should relax and allow your unconscious to take control (after all, you trust it to get you home from work everyday!). At this point there is no need for your conscious to be making corrections.

With repeated scrutiny, your conscious awareness will learn to listen objectively and overcome the urge to relay false information to the unconscious storage systems that make up the majority of your brain. By making performance time an integral part of your daily practice routine, you can train yourself to tune out the conscious babble when need be, in order to convey the music with finesse. Remember, the first step to improving your brain (and ultimately, your practice) is acknowledging its shortcomings.