Tag: Rhythm

In the Groove – 6. Creating Momentum

How does one create this type of momentum?

Creating momentum and it roles in advancing the motor learning process is also one of the least understood aspects of how to produce increased performance in a short period of time.  Rhythm can be used for motor learning within an individual lesson. This rhythm can be sustained from exercise to exercise using progressions within bases of support. The impact is a lesson of motor learning that includes adequate repetitions and multiple learning iterations of “make a mistake, learn the lesson, try it again.”

How can this momentum can sustained during the plan of care cycle over weeks and months, consisting of multiple unique appointments. Individual single session can be linked together to create sustained change over time with a technique borrowed from music composition.
We have already seen in other articles how the use of form assists in structuring of changes efforts over long periods of time. These internal relationships generate momentum. The momentum developed through organizing the internal relationships can be sustained over time by arranging the sub components in relation to the larger goals.   This strategic arrangement of goals, sub goals, current reality of those goals and actions create an internal framework of change.  Actions taken on behalf of bringing the two data points closer together create the rhythm that established the groove. Rhythm is the result of carrying that form in varying dimensions of time. Each very small dimensions of time is related to another through form, to create components that relate over longer periods of time, resulting in sustainable change efforts.

Arranging time and sound has been the life’s work of Hugo Norden who taught music composition.   Again the arts have something to teach us about how to create consistent results. From the book Form: The Silent Language, Norden describes the misconceptions students of music composition must dismiss in order to effectively design music.  He describes it as a basic misunderstanding of how the symbols of music and math have undermined the design process.  The concept of music produce a misunderstanding of the relationships of notes, and the mechanics of relating and arranging musical notes together into a comprehensive creation that communicates the desired expression.

He describes how most children are taught in their music lesson to “count time” from bar line to bar line, thus:

Notes 1234

As a result the music composition student, as they are learning to design music naturally follows the same sequencing.   In this way, the first note written is followed by the sequence above.  In this way it was the preceding note that the following note is based on.  However, this burdens the making of the composition as each segment of music becomes isolated and lacks continuity and integrity with the rest of the composition. One stanza is isolated from the overall movement.

Norden further drives the point home as he writes,
“This is a gross misconception which many students never outgrow!” He completes his thoughts by describing the frustration that is common for the musical composer using this approach.  Momentum is non existent in the music and the act of creating the music.

We have observed something similar in students of physical therapy, athletic training and in practicing clinicians. In the process of creating results that impact movement, the relationships between components of the plan of care can become categorized. That is they are isolated into silos such that a treatment plan to produce improved sitting to stand function becomes generalized. The internal relationships are lost and as a consequence momentum is undermined. The result is a sense of starting over each time the patient or client arrives for their appointment.  The choices made today does not relate to the overall goals of the program.

Progression towards the desired result is lost. Squat pattern training does more than just improve a sit to stand transfer. A squat pattern creates the needed strength to master the increasing complexity of a stride stance balance and wt shifting in asymmetrical stance. And without an adequate foundation in the squat pattern, single limb pattern is very difficult to progress.  In this way an opportunity to increase the clients desired involvement in life is missed and the impact of the change effort is temporary as the underlying structure of the approach is to provide only temporary change.

 

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In the Groove – 5. Rhythm

Rhythm is the result of organizing the relating parts in a way to generate energy. In change efforts in which a result is created, there may be many sub results that are necessary and must precede the overall result. Returning to the example of making a cake we see that sequence does indeed matter.   The dry product is mixed with the wet product to form the cake batter.  The sequencing of putting the contents together is just as important as the quality of the contents itself.  When seeking to create a treatment that produces accelerated motor learning the parts of the treatment need to be organized to generate the different rhythms desired.

In the rehab world this looks like sequencing the treatment planning towards movement related goals. Each functional movement is composed of many sub component movements. Shoulder flexion includes flexion at the glenohumeral joint as well as external rotation and abduction. Miss one or more of the movements and the shoulder will not flex. Flexion is primary, abduction supports flexion, and external rotation supports all the above. To miss this relationship results in shoulder exercises that unspecific and lack an impact on functional improvement. The best joint mob, the perfect execution of stretch, the perfectly timed trigger point release will not have an impact if performed in the wrong sequence. Yes, sequence does matter.

Changing perspectives and backing up to see how the shoulder impacts and is impacted by the rest of the body, we can use the progressing scale of center of gravity and base of support pairs to increase or decrease the functional demands on the shoulder.  We can also, knowing that the position of the thoracic spine will be determinant on how the scapula will move, change our perspective to examine the hierarchically arranged parts.  The shoulder will also behave differently due to the change in the behavior of the thoracic spine in sitting or stride positions, or standing on one leg.

How do we as movement specialists organize the actions of the change effort? It is a question with a variety of different stylistic answers depending on your field of study, the time frame of your practice, etc. However, if it is human movement that is the subject, there are constants. The styles of practice are a spectrum, from a free flowing impromptu jazz style, to a rigid classical approach. Whatever your technique of choice, you can learn to design a program that has an underlying groove to it. In music, the groove, refers to the underlying bass line that supports the free styling, harmonizing, and melody of the other instruments. It’s palpable in funk, Rand B, rock, and other forms of blues derived music. It is also present in classical music. In jazz, the groove, is what allows the individual musicians to solo off into the outer regions and return home without losing their way.  No matter what they play it seems to work.

The groove is also obvious when it is absent. No groove means no life, no soul of the music, and without the groove no matter what the musician creates it will seem flat.  Without a well organized, scalable, integrated treatment approach you will find that impact made on your patients function is at most temporary.  To use rhythm to generate in conjunction with the groove is to be well positioned to create what is uniquely required for level of involvement your patient or client would like in their life.