Music of Joy - Change Ringing

A few years ago, a friend of mine moved to NYC and joined the Trinity Change Ringers.  When Jeremy told me he had made the change from choir member to church bell ringer, I was a little perplexed.  He had such a lovely tenor voice, and an amazing understanding of music; I did not see any benefit to having him pulling a rope instead.

And I told him so.

He asked me if I had ever heard of change ringing; I had to answer that I had not.  He shared a New York Times article with me and gave me insight into the amazing cascade of ringing church bells, and the difficult nature of making the music.  And of course, I geeked out about it and started reading.

"The 'music' consists of cascades of bell strikes, called rows or pulls.  Variations in the order are introduced according to strict rules.  About five minutes of ringing is called a touch.  A full peal has 5,000 individual sequences.  Skillful ringing is like a steady stream of sand; poor ringing like clumps of earth".

I gotta say, that description does not make it sound much better.  Fortunately, the internets are filled with videos of amazing things (amazing things are not always good, just so you know - don't go looking for good things when you google 'Miranda Sings').  But then I listened to some, and was amazed.  Each of the notes, rung over and over again, with a pattern that defies expectation, and repeating in such a long loop that it is hard to even know that there is a repeating pattern.

Infinite variations. Each note, in isolation, providing just a toll. But together, instead of the expected cacophony, pure beauty.

The bells begin with a descending scale.  But then as the different rhythms for each bell continue, the character of the sound changes.  Listen to a little bit of it (or the whole thing, if you'd like!), but skip to about 3:00 to see how the sound changes.

I found myself thinking about that bell ringing and the beauty of the sound when I was in our church service a week ago.  One of the beloved members of the church was accepting a new job as minister of families out of state.  She had been involved with the children's ministry, and also with a ministry called Jacob's Ladder, which is a service to help adolescents and young adults with intellectual disabilities by helping them develop tools for adulthood.

The children sang.  The Jacob's Ladder youth played handbells.

My first thought was to expect cacophony.  Decades ago I played handbells in a youth bell choir, and quickly discovered how easy it was to botch a piece totally by playing at the wrong time.  Shortly after the first performance, I decided handbells might not be my way to fame and fortune.

As I listened to the bell ringers, however, I was amazed.  The sound was glorious.

Finally, the thought occurred to me that the out-of-time rhythm that  each of the players joyfully produced was, in essence, a form of change ringing.  Each of the ringers played their part of the chord in a rhythm that expressed their heart in a new way.  They started more or less together, cut off more or less together, and in between, they rang those bells.

Infinite variations. Each note, in isolation, providing just a toll.  But together, instead of the expected cacophony, pure beauty.

The end result was a beautiful experience.  One that touched me and reminded me of something important - that everyone has their note to play.  That where I expect dischord and tension, there is often beauty. 

And where I cannot find the beauty, it might just be because I haven't waited long enough to hear the pattern, and see the beauty. 

It also reminded me that I can play a melody by myself.  But that real joy and beauty comes from letting my note be joined with others, playing as imperfectly as I do, and with enthusiasm that brings joy with it, and make amazing music.  The music of the spheres.  Music of joy. 

I think I am going to listen for that beauty this week.  See if I can't listen for the change ringing in my life, and bring some much needed change.

Check Out the Fractals.

We were talking about some pipe dreams each of us has, and a friend of mine met my objection before I had even had a chance to voice it.  "If it takes too long, why not start now? How old will you be in five years if you DON'T follow that dream?"

I provided the obligatory clever retort.  But the sentiment has stuck with me.

How old will I be in five years if I don't do it?

I have mentioned my sister before regarding her learning to play the accordion.  All her life, Caroline has played the long game.  She looks into the distant futures, finds a future she wants, and starts on the intermediate tasks that will get her there.  This is not a new thing with her - I saw her figuring out costs and benefits when she was a baby contemplating taking her first steps.  And then again when she decided to swim.  And then again when she learned to read. 

A couple of months ago, when I was comparing musical notes with her, she told me her goal - she wants to be the 80-year-old lady who plays the accordion. If, as current popular theory states, it requires 10,000 Gladwellian practice hours to achieve mastery over a task, then she will plan on being an expert in 40 years. 

10,000 hours over the course of 40 years is only 250 hours a year.  An average of just over 40 minutes a day.

Very long game.  A friend of mine shared a quote with me this week:

When Pablo Casals (then aged 93) was asked why he continued to practice the cello three hours a day, Casals replied, "'I'm beginning to notice some improvement...'

The game is long, but focusing on the game means that you are breaking the process up into bearable units.  Although 10,000 hours seems like an insurmountable summit, 40 minutes is doable.

More important than the bite-sized practice sessions, though, it helps keep expectations in check.  I get discouraged if my banjo playing doesn't improve.  If the lessons I learned yesterday don't stick.  If the song doesn't sound better than it did yesterday.  Or worse still, if it sounds worse.  If my fingers are stiff and don't limber up, if the timing just sounds wrong, if the tune I hear in my head cannot make it out onto the instrument.... I get frustrated and fed up.

Each discouragement means that it is harder to pick up the hated instrument and play for a half hour. (30 minutes a day means it is gonna take me a little longer than Caroline to get to the 10k plateau....)

But what happens when I am not working towards immediate gratification?  What a lift do I get when I know those damned scales are just part of a huge plan to get good?  Practicing those rolls are not an end to themselves, but part of a long-term project to increase strength and flexibility?

As part of my research in my previous life as an archaeologist, I looked at fractals, the self-replicating patterns that repeat at every scale.  It made sense to look at it to study stone tool debris; I can tell you that one small pile of debitage looks almost identical to another (just so you know, that is not enough to write a thesis on...).  But I am beginning to think that maybe my efforts to learn things happen in the same way.



Mandelbrot might have been a math genius, but I
bet he sucked at playing the banjo.

I work on my forward rolls on the banjo.  I see a little bit of improvement.  Not much, just a little bit.  I see this little part of the learning pattern, and I think I know where it is going. And if I look back, I can imagine where I was a week ago.

But at a larger scale, over the past year and a half, I can see the things that I have learned.  And they grow at about the same rate.  My practice and the improvement I have in my ability replicates itself over time.  I get better incrementally.  My breakthroughs are not as amazing as I remembered them to be.  My plateaus not so long. 

Last night I went back to my first banjo instruction book, and was delighted to find that some of the trickier parts of the book were not as tricky any more.  I was able to do even the unfamiliar tunes more quickly.  That I struggled less.

What happens in five years?  How far along will I be? 

Funny thing that I realized, though, is that it is not limited just to my music.  How does playing the long game change my ideas about exercise (instead of getting discouraged that I don't look like Charles Atlas after six months of push-ups)?  How would it change my attitude towards my career advancement?  My furthering of my education?  My work in the community? 

What happens if I take the long view? 

And what fractal in your life would YOU approach differently?

Bee Stompin'

In the apocryphal tale, three-year-old Crorey was walking along in Granddaddy's yard, toddling along down the mountain.  Quite suddenly, my giggle turned to scream.  Everybody turned to look except Granddaddy, who knew where I was.  He was already in motion.

For those of my cousins who never knew Granddaddy as anything but an old man, what happened next is improbable.  But I am assured that it is true.  He sprinted down the side of the mountain, hurtling logs and dodging saplings and running over anything in his path.  And swooped me out of the yellow jacket nest that I had fallen into.

What bee could possibly sting that face?

He picked me up and started picking the yellow jackets off one by one, ignoring the stings that he was getting while doing so.

I ended up with a few stings.  He ended up with more than a hundred.

Seems as though I have spent an awful lot of my life being stung. 




Abelia Hedge was the plant that surrounded my house.

Four-year-old Crorey in the back yard, fascinated with the buzzing insects that seemed as attracted as he was to the sweet-smelling flowers.  And I was doing some serious bee stompin'.  Once I had successfully stomped bees one day, I did it again the next.  Eventually, I got stung.

Tearfully, I asked why the bee had stung me.  Mom explained to my bewildered four-year-old self that bees do not like being stomped.  And that they protect themselves by stinging. 

And if I am going to go bee stomping, that shoes are a must.

Episode 1 from abroad: Fast forward to a 9-year-old, bored out of his mind, stuck in French Guyana for an unexpected week. Not remembering his lesson taught earlier in that decade, my 9-year old self is chucking rocks at a small (tennis-ball sized) paper nest that was surrounded by increasingly agitated black flies.

Sweet success!  The fifth rock hit the hornets' nest squarely, and I watched with glee as the 'flies' flew away from the now-exploded nest.

Ow!

Fighting discouragement

Vignette #1

"I bought a banjo about a year ago.  And I have been working to teach myself how to play for the past year."

"Oh, well, that's good.  I understand it is the easiest instrument to play"

My next door neighbor is not known for his tact.  A concert pianist, he doesn't have a lot of sympathy for people who struggle with music.  It isn't unkindness.  It is just that he has no idea what it is like to struggle to make music.

Or maybe his struggle is simply in another form.

But those words just killed me.  My short fingers do not move quickly.  They do not stretch where they need to go.  They are not nimble, and they do not play the music I hear in my head.

Particularly because I do hear music in my head all the time - I am preternaturally susceptible to the earworm, and I go through my life with my own soundtrack (there is a woman who appears at regular intervals in my life to the theme of the Wicked Witch of the West) - it is a particular struggle when I can't get that music out. 

So I hear the music, and yet I struggle to make the instrument sing the way I hear it in my head.

And to hear a musician so easily dismiss my year of work to gain competence.... it hit harder than just having a bad session.

Vignette #2

My wife opened the kiln.  This firing was particularly slow, so we had been waiting on this moment for three days.  She reached in, and pulled out the tile....

...which was blistered and cracked.  The glaze had simply not adhered to the clay body, and the result looked awful.  This was the second batch she had run with a new clay, and it meant that her work for the past two weeks had been for nothing.

Vignette #3

A co-worker gets turned down for a supervisory job, and is supplanted by someone with less experience.  Five times in a row over three years.

and Vignette #4, and #5, and #6....

Everyone deals with disappointment.  But what do you do when it goes beyond just not getting the gig (or the girl, or the promotion....)

What the difference is, has nothing to do with the disappointment in not succeeding.  That element is in present in any process, and represents a temporary emotional setback. It is the discouragement (dis-cour: literally, losing heart) that really is the danger.  In high school, I read a book called Zen and the Art of Motorcycle Maintenance, by Robert Pirsig. I have read it numerous times since, each time getting something different from it.  But I remember particularly his discussion on what he called 'gumption traps'.

Gumption traps, he explained, are the dangerous places in a project where you lose enthusiasm for the project.  And they can be external (where you have a setback) or internal (where you have a hang-up.)

So how do you deal with these traps?  How do you face disappointment without becoming discouraged?

No, seriously.  I am asking.

I am told that taking a break helps.  (Pirsig mentioned that mechanism for dealing with a setback.)This approach helps because it allows the brain to change perspective on the problem. 

Violence also helps.  Well, not exactly, but there is something cathartic about breaking things and using physicality to fight discouragement.  I once used about four days with a sledgehammer to fight off a discouraging setback (fortunately, the concrete sidewalk needed to come out anyway).

What other elements help you? What are your walls?  What happens when you hit your wall, and how do you push through it?

Recital

Kathe and I have been taking music lessons for a month.  I have my banjo; she has a keyboard (although what she really wants is a piano.)

We are adult music students, a bit of a rarity.  And we both are convinced that we can do it, and we devote the time to practice, like we never could (or did) when we were kids. We set aside time, and are very protective of that time, because we have a goal in mind. We want to play.

What we are doing is very different from what kids do when they are given lessons. 

The typical child lesson (I have made some assumptions here) goes something like this: MomnDad decide child progeny (CP) is going to learn an instrument.  They give CP a choice: oboe or saxophone; CP chooses the one CP think is best/coolest/least dorky/easiest-to-hide-in-the-locker-at-school.  (Or, if you have a piano in the house, you get to learn piano).  M&D buy the instrument, and go about finding a suitable tutor.

And when I say ‘suitable’, what I really mean is ‘affordable’.

CP is encouraged to practice, and at the end of the semester/year, is rewarded with an opportunity to dress up and give a concert, that M&D attend.

From CP’s perspective, here is what happens:

M&D: “Do you want to give up the last remaining shred of video game time to practice the tuba, or to practice the piccolo?”

And just like that, CP is suddenly forced to give up a half-hour to an hour of every day to practice an instrument that he does not love, and then spends an additional hour with an adult who gets to be a

agricola, agricolae agricolarum....

I went to my first banjo lesson.  It was terrible.  I was completely out of rhythm, my fingers were stiff and clumsy, I got frustrated and, for the first time since I bought it, I hated that damned banjo.

Afterwards, I got in the car and Kathe, all excited, asked me how it went.

"It was awful," was all I said.

What happened?  Since I have been writing here, it has been "banjo" this, and "music" that.... and suddenly, I just detest the bloody thing?  How is that even possible?

Le ROI Est Mort, Vive Le ROI!

"The problem with music," Adam told me, "is that it is hard to determine the ROI."

I nodded, looking pensive.  He has his acronyms, I have mine.  And if I nod long enough, he will usually catch me up.

I nodded again.  I am pretty sure that he reads me well enough to know that the second nod (especially when I don't jump in with an unnecessary re-statement of what he just said) means that I am hopelessly lost, and need a little hint.

"See, if you can't measure your success in traditional ways," he explained further, "you don't know if your return on investment is a good one."

Got it.  Return On Investment. ROI.

I nodded again.

Jazzy

This week, I got to watch my grandkids playing jazz for the first time at Tipitina's amazing Sunday Youth Music Workshop.  They are both hard-working musicians, practicing their craft, getting beats and fingerwork and crossovers and flams and frets and hemiquavers...

...those two, like every musician I have ever met, speak a different language when they are talking music. 

So these competent budding musicians, who I have been admiring  am terribly envious of, got on stage and played with the house band.  The chord progression was simple, and was repeated over and over.  The drum line was not terribly intricate, and the house drummer walked them - all seven aspiring drummers - through the line a few times, and helped adjust them when they were not driving hard enough. 

Gabi and Remi in the all-new G&R.

But this was not learning and practicing a song.  This is not discovering how to play in sync with one another. 

"Only too old when you're dead"

When is it too late to start?

"My belief is you're only too old when you're dead."

A friend of mine posted that sentence this weekend, and it just resonated with me.  I have never met Windi.  We are friends of mutual friends on facebook, and admire each other from that distance.   (Well, I can only speak for myself - I admire her...).  As our mutual friend said once, 'Windi is a force of nature - she decides to do something, and throws herself into it with no sense that she is not world class at it.  And pretty soon, she is teaching her flamenco instructor moves.'

Is it any wonder I am a fan?

Windi decided to start learning the fiddle, so that she could play Irish tunes.  Nobody showed her how, she just bought a violin, accessed some online videos and started playing. 

At first, she posted progress online, and her playing was somewhere south of virtuoso.  But I was intrigued, and followed her progress, always looking forward to the next video sample.  It was not long before the tunes were not only recognizable, but even pretty good.

Now, just one year removed from her first sawing of bow and string, she is looking for a band to play with.  I can't wait to hear her first jam session.

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My sister Caroline picked up the accordion when she was in London a couple of years ago at age 39.  And no, she was not looking to polka or even (sadly) zydeco.  She had in mind the image of the French cafe accordion player.  And for several months, she just played (um) quietly in her apartment in her spare time, teaching herself left fingering and right keyboarding and chord progression, and....

And one day she had her window open and people under her apartment shouted up some encouragement.  She has since played in bars and auditions and teaches herself new songs all the time.

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What is it that you feel is beyond you?  Sure, high school French was brutal, but you find that you are intrigued by Mandarin Chinese? You have a hidden passion for stargazing, and want to learn astronomy? Or is there a musical instrument that you want to play?

Is it too late? Is it true, that Old Dogs Cannot Learn New Tricks?

Our understanding of neural pathways is based on a use-it-or-lose-it model.  If you have not learned what you need by the time you hit puberty, it is too late.  No late-life prodigies in music.  No second career geniuses in foreign languages.

Linguistics studies particularly point to an early developmental time frame when language acquisition is possible, and anything after that is impacted by the fact that you didn't learn it when you were 5 years old.  The brain wires itself along specific neural pathways, linguists tell us, and re-routing those pathways is almost impossible.

Badgerdoodle.  Absolute poppysmeg.

We rewire neural pathways all the time.  We learn new words, new names, and we stick them in  our memory banks in different ways.  Yes, we adults have established a way of learning and those pathways are entrenched.  That might make it hard to organize that new knowledge.

But we also have experience under our belts on what learning works best for us.

Maybe you are a kinetic learner, and know that you learn best while doing aerobics.  Or you are an auditory learner, and can put things to music to memorize them.  Because you have experience with learning, you can take advantage of what you already know about yourself to make the learning easier.

I am convinced that the main difference between adults and kids is embarassment.  Not that kids are not embarassed by making a mistake in public (I recall a particularly horrifying moment when I was in fourth grade crying while cutting edges off of the paper I was turning in) but that adults encourage the kid when mistakes are being made.  And adults who are motivating themselves see the embarassment as a reason to stop.

But consider this: when you were learning your first language, how many times did your parents have to repeat the following sequence before you got it right?

"Dat gog toy."
"That's right, son.  That's the dog's toy."
"Dat gog toy."
"That's right. That's the dog's toy."

Why would it be any different to learn to speak Basque?  New words, new order, new syntax, new everything.  We are going to mispronounce the words, and use the wrong forms, over and over. We will fail and grit our teeth and try again, and fail again.  Just like when we were kids.  Is it just that we are more hardwired to high expectations?

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My friend Adam works in knowledge management, and has been studying how organizations share information. And the change to sharing of information in the corporation requires three things: (check out his blog), motivation, ability, and trigger.

I think that the analogy is pretty apt for use in learning any new task, not just in corporate learning.  We all use these tasks in taking on a new task that we have never done before, whether learning computer coding or making French sauces.  We need the motivation, we need the ability, and we need the trigger.

The motivation is probably the greatest change between learning a new task for a child versus learning a new task for an adult.  Mom made me take piano lessons when I was in second grade.  What was my motivation there?  Was it because I decided I needed to be able to play music? 

Um, no.

But when my wife decides that she wants to learn the piano as an adult, what is her motivation?  No longer is it just a matter of pleasing her mom.  She is her own motivator.

The ability sector is "teaching people how to do things." This is the practice.  The physical repetition of the fingering, repeating the vocalizations until you can make a voiced glottal fricative on command, or the practicing of the steps until the samba is second nature. 

The final piece, as I understand it, is the trigger - the place where we re-create the response.  If you always listen to your Russian conversation tapes in the car on your drive to work, then your Russian is going to be strongest in the car, where the association is strongest (part of the reason that you are suggested to practice taking standardised tests in the room where you will be taking them). 

None of this is beyond the grasp of someone who wants to learn.

Will it be frustrating?  YES.

Will it be vexing? YES. 

Will you get a strange gratification when something makes sense? YES.

And see, that is the beauty of learning anything new - the gratification (elation, even?) of succeeding.  But instead of running to mom to share the success, I get it all to myself.  And then I reinforce it with more work on the ability sector.  And reinforce it again.  And again.... smiling with each repeated success.

 

It is terrifying to jump into something new.  My wife bought me a banjo this year, and I practice every free moment.  But I gotta confess - I am terror-stricken when I think of playing my banjo in front of people.  My hands shake at the best of times, and the thought of adding a little performance anxiety to top it off, well, I am pretty frightened. That embarassment potential is almost reason enough to stop.

 

But maybe all that means is that I need to change the trigger.  Maybe move to a more public place for playing the three songs I currently have in my repertoire.  Stretch my comfort zone to include front porch playing.  Maybe post a short video of Cripple Creek.  Laugh at the mistakes, and know that eventually, that sentence will come out right. 

 

"That's the dog's toy." 

 

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For those who teach, a nice blog entry from the teacher's perpective can be found here.