Mental Energy and Fuelling Yourself for Learning Guitar

English: Pepitas - roasted and salted
Pumpkin seeds – one of my favourite brain foods! (Photo credit: Wikipedia)

 

 

 

I’ve been reading a book recently by the name of “Thinking, Fast and Slow” by Nobel Prize-winning author Daniel Kahneman (it’s a great read, you should check it out: http://www.amazon.com/Thinking-Fast-Slow-Daniel-Kahneman/dp/0374533555) . In this Kahneman discusses the idea that we have two “systems” operating in the brain:

 

  • System 1 – which is the “non-thinking” part of us, responsible for things that we do automatically, such as reflexes, reactions, habits and so on.

 

  • System 2 – which is the “thinking” part of us, responsible for us undertaking activities that require concentration, attention and mental effort.

 

This concept resonated with me in relation to learning the guitar, particularly so given that I’ve been learning a brand spanking new piece recently. It got me thinking that when we’re playing guitar, playing something we know absolutely inside out, backwards and upside down, something we’ve been playing for a long time, we’re really playing through our “System 1”. We’ve embedded something so much that it becomes a habit. And so it stands to reason, therefore, that when we’re learning something new, we’re utilising our “System 2” – concentrating and using real, discernable mental effort.

 

The new piece I’ve been learning recently is particularly involved, lengthy and intense – learning it has required some of the most intense mental effort and concentration I think I’ve ever exerted! After one particular lesson on this piece I felt like my brain had been pulled out backward through my head. I felt like I was like a zombie. I was also starving hungry! This is my “System 2” in full flight.

 

According to Kahneman:

 

“…the idea of mental energy is more than a mere metaphor. The nervous system consumes more glucose than most other parts of the body, and effortful mental activity appears to be especially expensive in the currency of glucose. When you are actively involved in difficult cognitive reasoning or engaged in a task that requires self-control, your blood glucose level drops. The effect is analogous to a sprinter who draws down glucose stored in her muscles during a sprint.

 

Hmmm, very interesting. So when we’re learning a new piece on the guitar, really concentrating on reading each and every note, pitch, duration, rhythm, left hand fingering, right hand fingering, positioning on the fretboard and keeping it all together and all moving, we’re actually doing something akin to a mental sprint or some kind of mental “run” at least. You’re burning real energy, and burning it at a much greater rate than you probably would be when working on something you know inside out.

 

It’s probably a good idea, therefore, to think about fuelling yourself up sufficiently prior to a good solid practice session, particularly if you’re working on something brand spanking new! You don’t have to go crazy and use it as an excuse to pig out or to eat a lot of sugary or fatty foods. Just a little of something wholesome and nutritious before you sit down (and a glass of water so you’re well hydrated) is probably a good idea.

 

I’m no nutritionist, but something like a wee ham, cheese, salad sandwich on wholemeal, some Nutella or peanut butter on wholemeal, a handful of nuts and dried fruits or a banana prior to practice time sets me up well.

 

Here are some other ideas for you:

 

http://www.huffingtonpost.co.uk/2011/11/16/brain-boosting-foods-that-increase-concentration_n_1096824.html

 

Classical Guitar Performance – Cutting Loose and Going For It

Cutting loose and going for it. Cutting loose is about letting go and letting the unconscious mind and your muscle memory and all that hard work and practice you’ve been putting in do its thing. It’s about trusting yourself.

What does that even mean when playing guitar? For me at least it means:

  • Resigning conscious control of what it is I’m playing.
  • Being really in the now and present with what I’m playing in exactly that one moment; living for the moment!
  • Not being concerned with the music I have just played and is now past.
  • Not becoming upset with any glitches or imperfections I may have played or thinking how I’d like to play that better and so on.
  • Not judging myself or thinking about what others may think.
  • Not allowing myself to get over-excited when I really nail something spectacularly.
  • Maintaining a calm, confident and centred (not ecstatic, not negative) demeanour when playing; just being.

Here are some ideas to help loosen you up and get you to trust yourself….

Why are you playing guitar? To make yourself and others happy or moved? Or to make yourself feel tense and horrible? Hopefully not the latter or you and I need to have words! Note that I say “make yourself…..” – only you can make yourself feel a certain emotion….Think about that one. And remember why you’re playing in the first place.

Close your eyes when you’re next practicing and really listen it to the sound you’re making. How does it sound? How does it feel to really focus in on your sound in this way? How could focusing in on your sound help you in a performance situation? It gives your conscious mind something to focus on and be occupied with so your unconscious mind and your body can get on with the job in hand (boom boom). It will also mean your sound quality remains top notch.

Practice getting in the zone, and quieting the active, bubbling, bouncing conscious mind and its whirling thoughts. Some daily meditation, or similar mind-body awareness practice can really help with this. I like to do daily Alexander Technique practice with my semi-supine position as it gets mind and body awareness working together – I become aware of both mental and physical tensions and practice noticing and letting go. It’s soooo relaxing…

This one’s for those who are ready to take it to the next level……. Say “bugger it! What is the worst that can happen?!” As special as you are and all that, no one is going to remember your performance in an hours time let alone that you played a B-flat instead of a B (if they even realised!), or that you skipped a section, or that you lost your place because you got excited. I promise you.

Think on it – do you remember any particular moments from the concerts and gigs you’ve been to as an audience member? Maybe a couple, but overall you remember them as fantastic experiences I bet?  People always remember the big picture rather than the little details, so give them a technicolour experience rather than something in muted tones!

And then pull it back a little

And when you’ve got that down pat it’s time to review, revise and perhaps look back a little in the other direction.

Sometimes cutting loose and really going for something may not always be entirely appropriate – Barrios and the idea of high-energy “cutting loose” seems to go well together. With a Bach prelude perhaps the interpretation of “cutting loose” needs to be tempered slightly.

In the act of getting excited and really going for something we may in fact over-egg the pudding and diminish it’s impact. This is then where we need to exercise a little, not restraint – I don’t think our playing should ever feel restrained, do you? – but refinement.

This is where we now work to define the point or range between totally, 100% “safe”, timid and indeed restrained playing and 100% playing by the seat of your pants, super exciting, edgy, risk-taking playing….. I call this the Rogers’ Cutting Loose Scale. Hah hah!

Where do your current repertoire pieces sit on this scale? Is it time to put a rocket up the proverbial backside of some of your playing? Is it time to bring some back down to earth a little?

Ooh before I forget…..

Watch out for a wee announcement tomorrow about an exciting new development for the blog. 🙂

Nicole