Friday, October 7, 2022

Restore Common Sense to Our Medical System

During some point in our lives, we’re all going to encounter the bureaucracy of medical treatment. And, we’re going to conclude that our system sucks. It’s often not the people. Sure, I’ve met a few doctors with a grumpy bedside manner, but on the whole the nurses, doctors, home health aides, and medical suppliers I’ve dealt with have been fine people. Some have been the kindest, most caring people I’ve met, who brought needed hope to a loved one in need. So, it’s not the people—at least not the ones on the front lines. But the system is faulty.

Rather than look at the system as a whole, I’d like to look at small details. A lack of attention to small details shows that somewhere along the line there’s an error. I’m sure as I point these things out, others have thought about them. They’ve talked to supervisors, medical suppliers, pharmaceutical companies, and politicians. As the little details have moved up the chain of bureaucracy, there’s been some shortsighted dimwit that has just given the response, “Well, we just can’t do that.”, or “That will cost extra money.”, or “You just don’t understand how the system works.” In some conference room, where the people with the real power make decisions that affect people’s lives, stupidity reigns, because corporate America is ruled by profits, power, and convenience for the small group of soulless jackasses that have the final say. So, let’s look at some of those details. As I’ve helped care for loves ones, it’s often these little details that frost me.

Let’s Read the Fine Print

Or, maybe we won’t read the fine print. Have you seen the fine print? You’d need a microscope to read the print on pill bottles, instruction stickers on medical devices, or the tiny print on a cellphone a home health aide is carrying, because their company thinks they only need one device. Wouldn’t want to pay a hundred bucks for a large tablet so grandma can read the fine print, now would we?

I’ve wondered, as I’ve seen an elderly relative struggle to read the fine print, why don’t they give them bigger instructions? And, why aren’t there instructions on the side of the oxygen tank? I know there’s room. Someone had enough thought to put the company phone number on the side in a thousand-point font, because, well, when that tank is empty, we need a call so we can sell another. Why aren’t things labeled in big, clear, easy to understand ways? Doesn’t anyone think about these things? My only conclusion is that someone has thought about these things. I can’t be the only one. Things were pushed up the chain and eventually died, because a lazy middle manager didn’t want to be bothered. Or, made it all the way up to the boardroom of jackasses and died, because that would cost an extra nickel. Well, if you multiply a nickel by a million orders, I’ll have to buy a smaller yacht.

Pills, Pills, Pills

Ah yes, the bag of pills. It’s a huge bag that’s extremely confusing to someone that can’t read the labels. Because, remember, the label is microscopic. Did you know it’s hard to read small print on a curve? Squint. Rotate. Squint. Rotate. Squint. Rotate. I’m getting a headache. And, why aren’t these instructions in English? I recognize all the characters, so it looks like English, but I don’t comprehend what’s being said. I’m a writer that’s helping my elderly relative. I’ve taught college English classes, so I should be able to figure this out, but there’s a lack of clarity in the wording. And then, it dawns on me. Instructions for something as important as a critical medicine, something that could turn dangerous or even deadly if misused, shouldn’t be reduced to one-hundred-forty characters like a Twitter post. Well, actually, I’m not even sure if they could fit one-hundred-forty characters on this teensy, tiny little label. My thumbnail is bigger

Did you know they can make injection molded plastic into cube shapes? Hard to believe, isn’t it? Simply making the pill bottle larger and square would help the situation. Of course, printing out the instructions on a regular sheet of paper in big print would really help. It may even give room to give complete instructions without any abbreviations or jargon. Yeah, that would really help. Of course, there goes some fuel for some useless jackass’s leer jet.

I have an idea. Now, I know this is going to be bold. It may be so brilliant that no one else has ever thought about it. Why not also print out a full list of all medications the person should be taking? Make it simple—include times, doses, and full instructions. And, include it with every prescription refill, because sometimes elderly people have a change in their medication and simply giving them obscure instructions about their new pill doesn’t tell them whether they should keep taking the old pill or if the new pill replaces the old one. Or, and I’m really spitballing here, because this idea is at an Einsteinian level of brilliance, why not have the pharmacist presort all the pills into little packets—Monday morning pills in one packet, Monday evening in another packet, Tuesday morning in another packet, and so on! I know, I know. Nickels and dimes, leer jets and yachts without fuel, and what if the pharmacy had to hire another person to do all that sorting? Oh, heaven forbid we help grandma and create a new job!

Then there is the pill splitter. Let’s give an elderly person with bent hands a pill the size of ladybug and expect them to split it with a little, cheap, injection molded plastic device. How’s that working for them?

Why are some of these pills so small? Don’t they have any fillers that could make them a reasonable size for disfigured hands to hold. We’ve all found a loved one’s pill on the floor. Somewhere along the line, with the forty-seven pills in their hand, one broke loose. We don’t know when it happened. We’re just glad they’re still alive. 

Touchscreens

Zombie fingers. Have you heard of zombie fingers? No, well, you’re about to learn something. Have you ever watched an elderly person fumble with a cellphone? Or, maybe it’s that touchscreen a home health aide hands them. You know, that device that has crucial information they need to read and understand. And then, instead of focusing on the information, it’s a struggle to scroll, pinch, and expand text. Touchscreens are designed to register electrical signals from contact with skin. But, people with circulator issues, or other medical conditions, may not have proper blood flow and function in their fingers. That can impact the electrical signals and the touchscreen doesn’t work properly.

Everything anymore is designed to function around the touchscreen. If your fingers work properly, that cellphone, tablet, or device can make your life easier. But, if your fingers don’t work properly, all those devices just make life harder. I’m not saying get rid of touchscreens. If you try to take away my iPad, you’re going to have a fight on your hands! But, there needs to be alternate ways to access information for elderly patients that need medical care. The touchscreen may not be the right tool for them, but what does every visiting nurse, home health aide, or medical supplier carry?

Zombie finger is well known. I found out about it, because I watched an elderly relative consistently struggle with a cellphone. I did a little research—nothing in-depth, just a quick Google search. I mentioned it to a home health nurse, who was carrying her touchscreen, but had never heard about it. Why? Why wouldn’t she know? Do you think device manufacturers are aware of the issue? And, in boardroom discussions, do you think there was talk about keeping a lid on this little problem? There could be research into make the device friendly for all users, but then, nickels and dimes, nickels and dimes, there goes my vacation to Bermuda. Why worry about the disenfranchised few when the phones are flying off the shelves? So what if grandpa is getting his physical therapy and is struggling with that touchscreen his occupational therapist gave him. It’s not our problem!

The Oxygen Tanks

Tank would be a good word. These things are huge. And, heavy! Really heavy! They’re not heavy for me or the guy that brings them to the house. No, we’re healthy men. We don’t have rheumatoid arthritis and breathing issues. I deadlifted twenty times the weight just this morning. But for a small, elderly woman with rheumatoid, these things are huge. Why? Can’t they make them lighter? We have plastics, polymers, and carbon fibers. Oh, right, nickels and dimes. But, once the tank is made, the company takes away the old tanks when they’re empty. I assume they sterilize them and refill them. So, the cost of a better tank is a one-time investment to make someone’s life easier.

Why are they round? Won’t a round tank roll around in the backseat or trunk of someone’s car? Plus, doesn’t a cylinder have less volume that a cuboid shape? So, a cylinder would have less oxygen than if the shape was squared off—meaning it has to be bigger to carry the needed oxygen. I know some engineer right now is thinking about the problems of manufacturing a cuboid shaped oxygen tank made of a lightweight polymer. There probably are issues, but we put a man on the moon, didn’t we? And, I’m sure that man needed some oxygen.

Summary

I know sometimes I think too much about things, but I also know others have come to these same conclusions. The little details at times can be infuriating. These little details can become big struggles. Or, sometimes a big catastrophe that leads to a hospital stay or even death. The small details are just a symptom of bigger problems. And, that’s really at the heart of many of the problems of our medical system. We sometimes treat symptoms and don’t uncover the underlying illness. And, that underlying illness is usually the nickels and dimes that fuel some useless extravagance. 


Wednesday, September 7, 2022

Andy the Android: A Modern Day Parable

            “I can’t believe I get to take home Andy tonight!” Joe was ecstatic.
            “Calm down, dude. It’s only an android.” Steve peers at him whimsically.
            “Only an android? This thing walks and talks like a man. It has a heuristic computer with quadrillions of connections and bits of memory. Oh, man! And Zimmerman is in there installing the final pieces!”
            “Alright, alright! I got to admit. Having your own android is going to be pretty cool.”
            “You betcha! Man, I love working at Heuristic Robotics!”
            “I can’t believe you got Zimmerman—world’s foremost expert on artificial sight and hearing.”
            “The same artificial eyes and ears that restore sight and sound to humans are being installed in Andy, . . . this very moment!”
            “How about that entire network of nerves he created?”
            “I know! I know! Zimmerman’s giving him a sense of touch, taste, and smell. It’s going to be sweet!”
            Just then the door swings open. “Vell, boyz, zee android iz done.”
            Joe and Steve chuckle under their breaths at Zimmerman’s accent. They’ve been laughing ever since they first had class together six years ago when Zimmerman taught college.
            Joe billows, “Thanks Doctor Zimmerman.”
            The two of them hustle into the room. Andy is laying lifeless on a stainless steel gurney. Joe opens a small door hidden by his hairline.
            “Man,” says Steve. “This thing looks almost human.”
            Joe flips the switch and Andy sits up. “Happy Birthday!”
            Andy looks around the room. He appears a little bewildered.
            “Okay, Andy. Stand up.”
            Andy gazes at Joe. “That does not compute.”
            Steve takes a seat next to Andy. “Okay, Andy. Watch me.” He then stands up next to the gurney. Andy mirrors his motions.
            Joe commands Andy, “Okay, follow me to the car.” Steve and Joe walk out of the room. Andy remains behind, standing by the gurney. Steve chuckles, “Well, he’s your android. Good luck with that. I’m off to lunch.”
            Joe heads back into the room. “Okay, Andy, watch me and walk like I do. Just follow me.” Joe slowly begins to walk and Andy follows, mirroring every move. By the time they reach the parking lot the two of them are hitting a quick stride. Joe walks to the passenger side of the car and stops. “Okay, just stand here and watch me.” He opens the door, sits down in the passenger seats, gets back up, and closes the door. “Okay, now you do it.”
            Andy opens the door, sits down, gets back up, and closes the door.
            “Okay, okay. You almost got it right. Watch me do it again.” Joe opens the passenger door, sits down and closes the passenger door. He then rolls down the window. “Okay, after I get out of the car, you do exactly what I just did.”
            Andy opens the passenger’s door, sits down, closes the passenger door, and rolls down the window. Joe chuckles. “Well, I guess he learns by mimicry.”
            They drive away. “Okay, Andy. I’m taking you to the library. Access your files about reading and learning.”
            “Accessing, . . . accessing. Files downloaded and absorbed.”
            They pull into the library. Joe and Andy orchestrate a ballet of mimicry getting Andy into the building. Soon Andy is seated at a table. Joe has gathered some textbooks on robotics and cybernetics. “Okay, Andy, I want you to read these books.”
            Andy picks up the first book, Fundamentals of Robotics and Cybernetics: Exploring Cutting Edge Technologies in Artificial Intelligence. He begins to read. Joe looks at Andy and chuckles. “He looks bored . . . Nah, can’t be. He should soak up this stuff like a sponge.”
            In the corner of the room a group of children congregate for story time. A cheerful man begins to read Dr. Seuss’s The Cat in the Hat. Andy rises from his seat, walks over to where the children are, sits down, and listens intently. He even appears to chuckle at a few points. Joe is somewhat dismayed. “I wonder if there’s some sort of malfunction? I may have to take him back to the shop tomorrow.”
            Later that evening Joe and Andy are in Joe’s apartment. Andy sees Joe petting his cat, Snowball. Joe goes to the fridge for a drink. Andy begins to pet Snowball.
            RRRRRRrrrrrrrr! Snowball runs and hides under the couch.
            “No, no, no, Andy! You need to pet a cat lightly.”
            “That does not compute.”
            “Cat’s are fragile. If you’re not careful you can hurt them.”
            “That does not compute.”
            Joe grabs a few eggs from the fridge. He walks over to Andy. “Okay, fragile. Fragile things break easy. Grab this egg.” Andy grabs the egg, which cracks spilling on the floor. “You see. You broke it. Fragile things break easily. Now, take this next egg, but be gentle.”
            Andy gently holds the egg.
            “There, now you got it. Fragile—breaks easily, so you have to be gentle.”
            Andy stares at the egg in amazement. “Fragile.”
            “Yes, fragile. Fragile things break easily and need to be handled with care. Cats are fragile.”
            “Fragile. Cats are fragile. I understand.”
            The next morning it was back to the library. Again, Andy looked quite bored reading the textbooks. “Andy, do you know what you are reading?”
            “This does not compute.”
            “Andy, these are the greatest concepts known to man.”
            “Concepts? That does not compute.”
            “Concepts. You know, ideas.”
            “Ideas? That does not compute, . . . Oh, the Cat in the Hat.”
            Joe notices the children beginning to congregate for story time.
            “No, Andy. No Cat in the Hat. Today he’ll tell another story.”
            “Andy likes stories.” The android meanders over and sits with the children. He listens intently to Green Eggs and Ham. At a few points he even chuckles aloud.
            Joe watches from a distance, thinking, “I’m not too sure about this android. He can’t grasp a concept, but Sam I Am—he loves that! I think I need to take him back to the shop and call in Zimmerman.”
            After story time Joe and Andy head back to the shop. Andy is seated on the edge of the gurney as Zimmerman walks in.
            “Zoe, vat seems to be da problem?”
            “Andy just can’t seem to grasp concepts.”
            “Oh, I zee, I zee. Vell, vat does he grazp?”
            “He is good at mimicry and enjoys Dr. Seuss.”
            When Andy hears “Dr. Seuss” he grows excited. He recites, word-for-word, the entire text from Green Eggs and Ham.
            “You see, Dr. Zimmerman. That can’t be right for an android with a heuristic brain with quadrillions of connections.”
            Zimmerman peers at Joe whimsically. “And, vwhy iz dat not right? Vwe programmed him to learn.”
            “Well yeah, but Dr. Seuss? Why Dr. Seuss? Why mimicry?”
            “Vwell, vwe gave him zight, zound, touch, taszte, and smell. All his inputz and outputz are zsenzory in nature.”
            “Okay, his inputs and outputs are sensory in nature. What’s that got to do with it?”
            “Vell, if hisz inputz and outputz are zsenzory then how iz he going to learn?”
            “In a sensory fashion?”
            “Goodt, goodt! Yesz, he’z going to learn through hisz zsenses.”
            “But, I want him to read textbooks. I want him to encounter all the greatest concepts mankind has to offer.”
            “Do you like reading zee textboosks?”
            “Well, no. Not really.”
            “But, why Dr. Seuss? Why does he love Seuss?”
            “Storiez create imagez the mind can zee, hear, szmell, and taste. The characters, the plot, even zee rhzym of Dr. Zeuss is zsensory in nature.” Zimmerman peers at Joe as the truth begins to zink in. “Do youz remember taking my clazz inz college?”
            “Of course I do. That was my favorite class.”
            “Did I givze you a bunch of conceptz.”
            “I remember you gave a ton of stories, analogies, and demonstrations. It was unlike any class I’ve ever had!”
            “Yez, Yesz. So, did you learnz the conceptz?”
            “I sure did. Boy, those concepts were tough, but all those stories, analogies, and demonstrations gave my mind something to grasp.”
            “Zo, why should zee android be any different?”
            “I, . . . I, I guess he shouldn’t. You’ve given me a lot to think about, Dr. Zimmerman. Thanks for all your help.”
            “No problem, my yzoung friend.”
            Over the weeks and months that followed, Joe and Andy read a lot of Dr. Seuss. Joe tells Andy stories. He shows Andy the best videos he can find. He teaches Andy using a hands-on approach.
            Andy has many encounters with cats before he learns to handle them properly. But, don’t worry, no cats were harmed during the training of our android, . . . at least none seriously. Fluffy did develop a facial tick when someone tugs on her tail. But, don’t fret. All the kids in the neighborhood love Fluffy!

            As Joe teaches Andy, he begins to understand how people learn. He begins to notice people have a hard time grasping concepts, but stories, analogies, and hands-on learning they pick up quite easily. And, once all those sensory-oriented inputs begin to take root, they then begin to grasp concepts.    

Monday, August 29, 2022

Finding the Beat for Percussive Ukulele

 

              As I’m exploring percussive ukulele, I’m working to develop a systematic approach that will help me. Eventually, I hope to turn that systematic approach into a system that will help others. The basic unit (in terms of rhythmic ukulele) is a strum pattern. My initial plan is to build percussive strum patterns that are based on common strum patterns and drum patterns—a toolbox of techniques I can use to make music.

              However, the strum pattern isn’t at the foundational level of the beat. The strum pattern rests upon the foundation of the beat. Gloria Estefan would be proud because the rhythm is going to get me!

The Beat and Barre

              The foundational unit of rhythm in music is called a barre. You could think of it as a short rhythmic sentence. Each barre has a number of beats. But, how many? Fortunately, music is written in a way that tells us. It’s called the time signature. The time signature looks like a fraction that sits on the left end of the musical staff (all those lines and spaces). The top number in the fraction tells us how many beats are in each barre.

              The most common number of beats is four. You may have heard of four-four time or common time. That is the most common time signature in Western music. For now, we’re not going to worry about the bottom number in the time signature fraction.

              Each beat can receive a different amount of emphasis—HI, MID, or lo. So, with four beats we generally have the following pattern:

One                     Two                    Three                 Four

HI                         lo                      MID                    lo

              This pattern of HI, lo, MID, lo keeps repeating throughout the song. It forms the rhythmic spine upon which the notes and percussive sounds are built.

How Are Beats Emphasized

              You may be wondering, “How do I distinguish between the HI, MID, and lo emphasis?” One way is by volume. We do this when we’re speaking, don’t we? We naturally emphasis certain syllables in a word. The same is true of music. One syllable (beat) can be louder, softer, or somewhere in the middle. If you listen to lyrics, you may notice some lyrics really don’t sound the way someone would write. The words may be in a little strange order (at least when looked at solely as writing). Or, phrasing may be a little unusual. Yet, when you sing it, it sounds great. Why is that? The person writing the lyrics needs to line up the ordinary emphasis of the syllables of the words with the normal emphasis of the beats of the music. Obviously, this isn’t always a one-to-one correlation, but certain ways to organize words just sound more musical or poetic—and that’s because the emphasis of the syllables has a musical rhythm to it. The lyric writer at times may be doing this unconsciously, but they must write with a sense of beat.

              Percussive sounds can also provide different emphasis to beats. A bass drum (some sort of kick drum or concert bass drum) grabs the ear’s attention with a thunderous sound. Just imagine The 1812 Overture with those earth-shaking cannon blasts. Low frequency sounds tend to grab our attention more than the snap of a hi hat or cymbal. If you’ve ever heard a pipe organ live, the visceral feel of the pedal tones gives a satisfying feel to the music.

              Ever notice that many drumbeats are based around the kick drum, snare, and hi hat. Why is that? The kick provides a HI emphasis with its low-end rumble. The snare provides a MID emphasis, with its clean sound. The hi hat gives a lo emphasis with its tsk sound.

              There are other drums we could look at. The djembe and cajon base their sonic palette around three sounds: bass, tone, and slap. Hmmm? That sounds familiar. Bass: HI, tone: MID, and slap: lo.

              Please, if you’re a drummer, don’t be offended by this discussion. I’m aware drums are capable of an enormous range of sounds and I’m oversimplifying your craft. I’m in the process of figuring out how to make percussive sounds on an ukulele, which has a much smaller array of percussive sounds than a drum kit, djembe, or cajon. So, I must simplify the drum sounds. Thinking in terms of using the three main sounds of HI, MID, and lo emphasis is fitting for the percussive limitations of an ukulele.

              Another way to emphasize is by the grabbiness of a sound. Some sounds just grab our ears. More cowbell, please!

              So, we have three ways to emphasis beats: volume, frequency, and grabbiness. Can you understand why many bands have a bass player and drummer? They help to create the beat, which provides a rhythmic foundation for music. With percussive ukulele, we’re not trying to exactly duplicate the sounds bass and drums create. What we’re trying to do is to play in a way that helps to reinforce the beat.

The Offbeat

              Let’s consider the word “ukulele” for a moment. Listen closely to how it sounds. In general, the first two syllables—“uk” and “u”—are spoken in a way that each syllable lasts about the same amount of time. But, those last two syllables, “lele”, take up about the same amount of time as the “uk” syllable or the “u” syllable. What is happening is the word is broken down into three beats with that final beat broken down into two quick syllables.

Beat one                          Beat two                          Beat three

Uk                                   u                                       le-le

              The same thing happens in music. A beat can be broken down into subdivisions. The most common subdivisions would be two, three (called a triplet), or four. Let’s look at our four beats with subdivisions.

One      and       Two      and       Three   and       Four     and

HI                     lo                      MID                  lo

              The second subdivision in each beat (the and’s) are called the offbeat. Now, here’s where things get a tad confusing. When we break down a beat into a two-part subdivision, we call the first part the “beat” and the second part the “offbeat”. So, the term “beat” can be used to refer to the entire syllable or the first subdivision of that syllable. It’s not super confusing, but you do need to understand the context for the term “beat”.

Understanding the beat and offbeat is foundational to ukulele strumming. In general, the down strum is on the beat and the up strum is on the offbeat. It’s most common in the beat-offbeat subdivisions to put a little more emphasis on the first subdivision. In terms of ukulele, it may be more helpful to think in terms of down strum and up strum as opposed to beat and offbeat. The down strum in general is a little more forceful sound than the up strum.

              When investigating music, there really aren’t absolute rules. There are general guidelines and often those guidelines vary between musical styles. So, is it possible to down strum on the offbeat and up strum on the beat? Can one put a more emphasis on the offbeat than the beat? Of course, you can! What you’ll find is that all of a sudden you’re transported to the Caribbean and you just want to listen to some Bob Marley. Emphasizing the offbeat gives the music a Reggae feeling. And, who wouldn’t want to strum their ukulele on some warm Caribbean beach?

              So, let’s recap before we move on. The foundational rhythmic unit for music is called a barre. A barre is broken down into a number of beats. So far, we’ve looked at four beats per barre. Each beat can be further broken down into subdivisions. What is common in ukulele strumming is to break each beat down into two subdivisions: beat and offbeat.

              Beats and offbeats can be given HI, MID, or lo emphasis by varying their volume, frequency, and grabbiness. How emphasis is used can give the music a different feel and different styles of music and different cultural heritages emphasize beats differently.

Take Me to the Waltz

              Instead of four beats, let’s base music off three beats. Let’s try the following emphasis pattern:

ONE                    two                     three

              If you just start speaking the pattern in a repeating loop, you should feel like you’re about to dance a waltz. ONE, two, three, ONE, two, three, ONE, two, three, ONE, two, three. Can you feel it? Can you feel yourself gliding across the dance floor?

              Now, imagine singing Amazing Grace to that rhythm. Once you find the Waltz swing it kinda works, but it just doesn’t feel quite right. It’s not really a song you want to dance to. Amazing Grace is built on three beats, so let’s change the emphasis. Instead of ONE, two, three, try ONE, TWO, THREE, ONE, TWO, THREE, ONE, TWO, THREE, ONE, TWO, THREE. Ah, there you go! Now, it seems to work. By compressing the amount of emphasis between the downbeat and the other beats, the song takes on the dreamy quality of dancing with the Lord.

              I just introduced the term “downbeat”. The downbeat is the first beat in a bar. It's usually emphasized more than the other beats. I say usually, because there are no absolute rules in music—only guidelines.

Let’s Start Marching

              Two beats are sometimes used in music. So, you can have a ONE, two emphasis, which is how I would generally emphasize something with two beats. You could also have a ONE, TWO emphasis.

              Let’s stick with a ONE, two emphasis. I want you to imagine the ONE being played on a kick drum—DUM— and the two being played on a hi hat—tsk. DUM, tsk, DUM, tsk, DUM, tsk, DUM, tsk. Keep it going until you can really hear it. Do you want to march? A two-beat barre creates a marching feel. Just imagine that poor kid in marching band that must lug around that bass drum. If they’re playing a song that has a marching feel to it, he’s going to have to feel that ONE, two, and strike the drum on the ONE. He probably won’t find the beat, because he’ll be distracted by the girl who decided bagpipes are a marching band instrument, and her daddy is a lawyer!

              So, the number of beats and how we emphasize the beats really create the feel for music. Simply by changing up those variables, we can create an extreme amount of variability in the sound of music. While two, three, and four beats are most common, one can theoretically use any number of beats. If you want to write some music based on seventeen beats, go ahead! Just don’t expect me to help you.

Let’s Go to the Dark Side

              While I’m not going to look at all the possibilities when it comes to the number of beats and how to emphasize, there are a few others worth a short investigation. Let’s briefly get into the dark side of five, six, and nine beats.

              Five Beats. So, we’ve already established that the strongest emphasis is generally on the downbeat (the ONE). How are we going to emphasize things with five? We could break things down into subdivisions of two plus three, or three plus two.

ONE                    two                     three                  FOUR                  five

Or,

ONE                    two                     three                  FOUR                  FIVE

Or,

ONE                    two                     THREE                four                     five

Or,

ONE                    two                     THREE                FOUR                  FIVE

              If you say these, you can hear each one sounds a little different and conveys a different feel. There’s another trick that’s done with five beats. That’s creating music that has two long beats (one and a half beat X two = three beats) and two short beats. The Mission Impossible theme does this. What the composer is doing is basically writing a four-beat song composed of two long beats and two short beats. The time signature is designed to write music where each beat is equal length, so the composer must figure out a way to write the music in a way others can play it. Basically, it breaks down as follows:

How it feels

O-----N-----E                    t-----w-----o                     THREE                FOUR

How its translated into musical language

ONE      and       two       AND     three    and       FOUR   and       FIVE              and

              If you don’t quite follow that explanation, find a recording of the Mission Impossible theme and listen to it. Sometimes music theory doesn’t make any sense until you hear it.      

              Six Beats. When you get into beat numbers that are divisible by three, it’s helpful to think in terms of groups of three. So, class, what is six divided by three? If you answered two, well done. If you answered something different, you may have trouble with music theory.

              So, which beat is going to usually get the strongest emphasis? If you answered the downbeat, you’ve been paying attention. So, we have the downbeat followed by beats two and three, which will make up our first group of three. Beat four starts the second set of threes. So, it’s probably going to be emphasized, but not quite as strong as the downbeat. So, we’ll give beat four a MID emphasis. That MID emphasis won’t sound emphasized unless beats two, three, five, and six are given lo emphasis. So, we have the following pattern with six beats:

ONE                    two                     three                  FOUR                 five                     six

              As we discuss all these beats and variations, is it getting confusing? I know I’m confused and I’m writing this! It really helps if you have a metronome that plays different time signatures so you can hear what they sound like—particularly one that allows you to adjust how beats are emphasized. We’re not going to talk about the bottom number in that time signature equation, but you could use the following time signatures to hear what the number of beats sounds like:

Four beats: 4/4

Three beats: 3/4

Two beats: 2/4

Five beats: 5/4

Six beats: 6/8

Nine beats: 9/8

              Nine Beats. So, we’re again thinking of a multiple of three. So, it’s helpful to bring things down into sets of three. How many sets of three? Someone in the back of the room says three. Good, we’ll go with three. Now, where are we going to put our strongest emphasis? The downbeat! Yes, I see someone has been paying attention.

              The second set of three begins with beat four; the third set of three begins with beat seven. So, it seems logical to give them MID emphasis. Everything else we’ll give a lo emphasis. So, we have:

ONE      two       three    FOUR     five     six        SEVEN    eight    nine

Summary

              Phew! We’ve covered a lot. Music can be broken down to a basic rhythmic unit called a barre. A barre will have a number of beats. We looked at two, three, four, five, six, and nine beats. But, any number of beats is theoretically possible.

              Each of those beats can received a different emphasis: HI, MID, or lo. These emphases are achieved by varying the loudness, frequency, and grabbiness of the sounds.

              The first beat in the barre is called the downbeat and generally receives the strongest emphasis. Beats can be further broken down. For ukulele strumming, it is common to break a beat down into two subdivisions. When strumming, the down strum is generally put on the first subdivision and the up strum on the second subdivision.

              The number of beats and the emphasis given to each beat create a basic rhythmic feel to the music. It gives us a rhythmic foundation upon which to build our strumming and percussive playing.

Thursday, August 25, 2022

Ukeleling with the Right Hand

I’m on a journey learning the wonders of the ukulele. It’s only four strings, but it’s capable of a wide breadth of rhythmic, melodic, and percussive sounds. I like to think of the ukulele as the simplest instrument capable of complex music. Imagine anything less? Three strings! Well, that limits the ability to do more complex chords. What about five or six strings? That makes playing and fretting much more complex. Sure, it adds some range, but there is a point of diminishing returns. The ukulele is at the golden apex for strummed stringed instruments—not being more complex than necessary, but also not being so simply that it can’t make complex music.
As I’m investigating percussive sounds, a great starting point is to just figure out what the ukulele can do without all those taps, bumps, scrapes, and other drum-like sounds. What can the right hand do to vary sound without becoming a drummer?

Index Finger Flick

The Index finger flick is a common way to strum an ukulele. And, it’s effective! It gives a nice, crisp sound and is great for strumming at a quick pace. It’s my preferred way to strum.

Thumb Strum

The thumb strum sounds a little more mellow—at least to my ears. This has to do with getting more meat on the strings. When I index finger flick, I’m getting more nail into the string. When I thumb strum, there’s more flesh. I’m developing the blister pad to prove it!
The technique is often used in chord-melody style. It’s fairly easy to strum down and come to rest on a string rather than play it. In terms of chords, this means chords can be played on the G, C, and E strings without bringing in the A string. Or, one can start at the C string and strum down (C, E, and A strings). On a low G ukulele this is a huge advantage. I can pick a higher pitched strum and the instrument sounds like a high G instrument. Or, I can pick a lower pitched strum. Strumming three strings also can reduce the work the fretting hand needs to do, which at times can significantly simplify a difficult chord.

Flicking and Strumming with Fingers

Another useful technique is to use multiple fingers for strumming. If the hand is fanned, this gives the effect of rapid back-to-back strums. Or, without fanning one is simply getting more finger into the strings which gives a louder sound. This is great for emphasizing a beat or adding some variety to a strum.
I’ve seen some videos of people using these types of strums to play ukulele Flamenco style. Honestly, I’m not there yet, but I’m learning.

The Pluck Strum

I generally do this using my thumb, index, and middle finger. I pluck three strings while giving a clockwise twist with my wrist. This can be done on four strings by adding in the ring finger, but I generally like to do it with three. This gives the same advantages of playing on three strings mentioned for the thumb strum—simplified fretting and the ability to make a low G ukulele sound like a high G instrument.
The pluck strum has a little different sound quality. To my ears, it sounds pure and bell-like. This gives one more tool to provide some variety.

The Tap

This technique is a fun one. One rings out a chord by tapping the hand on the strings between the sound hole and the bridge. It does take a little finesse. The hand has to bounce off the strings. Without the right bounce, the chord doesn’t ring out brightly because the fingers mute the sound. While I would categorize this as a strumming and plucking technique, it does have a percussive sound. If done correctly it has a hi hat or cymbal like quality to it.

Summary

So, there you have it—five techniques to add some variety to the strum without even looking into all the percussive sounds the ukulele is capable of. The ukulele may be a small instrument, but it’s a mighty one!

William Writer and His Eight Friends

            William Writer, a brilliant scientist, sat at his desk in deep thought. There were so many ideas in his head, but he didn’t know how to explain them to others. He decided he would make eight friends–Iggy Interjection, Vinnie Verb, Alvin Adjective, Angie Adverb, Nancy Noun, Priscilla Pronoun, Clark Conjunction and Penny Preposition–to help him share his ideas. He created these friends out of ink and called them “words”. He decided he would place these eight friends on paper to create what he called “sentences.” These sentences would help him share his ideas with others. Each sentence was a thought. By creating and combining these thoughts, he could share his ideas with others.

            Iggy Interjection was the loudmouth of the group. He would always scream out words like, “BAM!”, “WOW!”, or “COWABUNGA!” Iggy Interjection was very emotional and always shared his feelings.
            Vinnie Verb was a man of action. He was often running, jumping, walking, playing or swimming. However, at times he would sit by himself and stare into space. When asked what he was doing, he would reply, “I just want to be. I want to exist. Is that so wrong?”
            Alvin Adjective and Angie Adverb were brother and sister. They were into detail. They liked to describe things. Alvin Adjective was in love with Nancy Noun. At times the two were inseparable. He described her using words such as “pretty”, “stable” and “kind”. Alvin Adjective also liked to spend time with Priscilla Pronoun.
            Angie Adverb was in love with Vinnie Verb. She loved describing how “quickly” he ran, how “nimbly” he walked and how “gracefully” he swam. She just loved words that ended in the letter “l” followed by “y”. When Vinnie Verb would just sit and stare into space, she would often sit down right next to him.
            Nancy Noun was a magic being. She could change her shape and become many different things. Sometimes she would be a person. Sometimes she would be a place. Sometimes she would be a thing. Sometimes she would try to become something that only existed in the mind. That was difficult.
            Nancy Noun had a jealous sister, Priscilla Pronoun. She would often try to take the place of Nancy Noun when William Writer decided to make sentences. Sometimes William Writer felt that Priscilla Pronoun did things better than Nancy Noun, but Nancy Noun did have unique skills. Nancy Noun was more precise than Priscilla Pronoun. Because of this, Nancy Noun was often used first when William Writer made sentences. Priscilla Pronoun usually played second string, coming in to replace Nancy Noun.
            Clark Conjunction was the clingy one of the group. He would often lock arms with others–one with his right and the other with his left. By doing this, he joined things together.
            Penny Preposition was the last word that William Writer created. She was created after Nancy Noun married Vinnie Verb. Sometimes he needed to connect things to them as a couple. Clark Conjunction just didn’t work well for this task. He worked when William Writer wanted to connect something to one of them, but when he wanted to join something to them as a couple he needed another word. Penny Preposition was the woman for the job. The thing–or object–she connected was called the “object of the preposition”. She not only connected her objects to the married couple, but in doing so helped to answer who, what, where, when, why or how the object was connected.
            William Writer called his process of creating sentences “writing.” He soon found it was very difficult. Although his eight characters were powerful, they just could not get the job done. He decided to make families of each character. So, he created families of Interjections, families of Verbs, families of Adjectives, families of Adverbs, families of Nouns, families of Pronouns, families of Conjunctions and families of Prepositions.
            Each member of the family looked different, but they all shared common traits. All the Interjections were emotional and liked to share their feelings. All the Adjectives liked to describe things and hang out with the Nouns and Pronouns. All the Adverbs liked to describe things and hang out with the Verbs. All the Pronouns were jealous of the Nouns and tried to take their places in sentences. All the Prepositions helped to connect things to the marriage between nouns and verbs. These things were called the “objects of the preposition.” The Prepositions answered who, what, where, when, why or how their objects were connected to the married couple.
            The Verb family was a little strange. Some of the Verbs were always active. Some of the Verbs liked to sit, stare out into space and mutter “I just want to be. I want to exist. Is that so wrong?” Some of the Verbs acted both ways.
            The Nouns were the most diversified family. Some of the Nouns decided to be people. Some of the Nouns decided to be places. Some of the Nouns decided to be things. A few of the Nouns decided to become things that only existed in the mind. This was difficult to do.
             William Writer created so many words, that he needed a place to store them. He decided he would put them in a big book. He called this book a “dictionary”.
            William Writer now had all the friends he needed to convey his thoughts, but he found writing was hard. He just could not put the friends together in any order. When he did this, things did not make sense. He stared out his window to try to come up with a solution. Across a field, he could see two football teams playing. He noticed that the teams used formations. While each play was different, there were only a few ways they lined up to begin the plays. There were set patterns they used to organize their plays. “There should be patterns I can use to organize sentences,” he thought.
            He was intrigued by the running back. He noticed that he did not do the same thing on every play. On one play, he ran with the ball. On one play, he blocked so another player could break free. On one play, he passed the ball. On another play, he faked while his teammate ran the other direction. Although he was one player, he often took on different roles. “Perhaps,” he thought, “if each of my words could take on different roles then they could be more effective at making sentences.” These various roles he called “parts of a sentence.”
            William Writer went to work. Every sentence had to be about something. William decided to call that something a “subject”. Being the center of attention, subjects could become selfish. “Selfish subjects,” he thought. “It just doesn’t seem right.” He was a bit of a romantic so he decided to marry the subject to a verb. He decided a subject always needed to be married to a verb. Being married, the subject could not become too selfish. He also decided that on rare occasions the subject could serve as the invisible partner in the relationship: there, but not seen. This would also stop the subject from becoming too self-centered. This union would form the basic structure of a sentence. Nouns or pronouns generally played the role of being the subject. Verbs were verbs. They were so important that the role they played in the sentence was just being themselves.
            William Writer soon found that the union of subject and verb was not enough to convey his thoughts. At times, simple thoughts could be conveyed with just these two parts. For example, the sentence, “William ran.” It was quite simple, but did express a complete thought. However, sometimes there seemed to be something missing. For example, the sentence “William takes.” But, what does he take? That was a big question that needed to be answered. The subject was performing the action of the verb, but what was receiving the action? William Writer decided that certain actions needed to be done to someone or something. He decided to call this the “direct object.” He called it “direct”, because it directly received the action of the verb. He called it an “object”, because he had to call it something and “object” seemed to fit just as well as anything else. He now had another basic sentence structure: subject plus verb plus direct object.
            However, at times the verb was not a verb of action. At times the verb just wanted to be. It wanted to exist. And, in the verb’s defense, was that so wrong? However, this brought about confusion when the verb was married to a subject. For example, consider the sentence “He is.” William Writer thought about this sentence. “What is he?” It just didn’t make sense. He had to be something. The thought could be completed with an adjective. For example, “He is handsome.” Or, the thought could be completed with a noun. For example, “He is a boy.” He decided to call both of them a “complement.” In these type of sentences the verb acted like an equal sign. He equals handsome; or, he equals a boy. All of William Writer’s friends jokingly called the complement a “complete-ment”, because it completed the thought. He now had another sentence structure: subject plus verb plus complement.
            William Writer soon realized that it was not only the married couple, subject and verb, that needed a complement. As he wrote sentences, he realized that at times a direct object needed a complement: for example, the sentence, “Jill considers Jack.” It just didn’t seem right. It seemed to be missing something. What does Jill consider Jack? William Writer finished the sentence, “Jill considers Jack a friend.” Now it had a complement and made sense. He had another sentence structure: subject plus verb plus direct object plus complement.
            One day William Writer was writing a sentence. He wrote “Jack gave water.” He sat down and thought about it for a while. “Who did Jack give water to?” was the question on his mind. He had a subject, a verb and a direct object. However, this just didn’t seem sufficient. At times, the direct object was given to someone or something. In this case he decided to give the water to Jill. So his sentence read, “Jack gave Jill water.” He called the person, place or thing that received the direct object the “indirect object.” Now he had another sentence structure: subject plus verb plus indirect object plus direct object.
            William Writer soon realized there was another way to finish an idea when he joined a subject with a verb that just wanted to be or exist. The verb did not always need to function as an equal. Sometimes things made sense when he just added some detail to the verb. Since it added detail, it was similar to an adverb. He called this an adverbial. The sentence, “They are.” does not make as much sense as, “They are on the bus.” So he had his final, basic sentence structure: subject plus verb plus adverbial.
            These basic sentence structures were like the trunk of a tree. They provided basic support, but much could be added. Two trees could have similar trunks, but look very different. The same is true of two sentences.
            As William Writer began to write, he found people did not understand his ideas. All his sentences ran together. They just did not seem to flow smoothly. He thought about the football game he watched. The game had referees. These referees helped to maintain the flow of the game. Without them the game could easily break down into chaos–just like his sentences. He decided he needed to make referees for his sentences. He called these referees “punctuation marks”.
            William Writer created three punctuation marks to use for ending sentences–the period, the exclamation mark and the question mark. The period was the simplest way to end a sentence. Because it was simple, William Writer decided to make it a simple dot. Its function was simply to end a sentence. However, there were times when he wanted a sentence to convey strong emotion and to make a point forcefully. He decided he would keep a dot, but put a line standing tall above it. The line stood tall because it was making a bold statement. He called this an “exclamation mark”. At times he wanted to ask a question or state something he was unsure about. For this he created a “question mark”. Above the dot he made a loop with a short line at the bottom. It looked a little like an ear with an earring on the bottom. He thought this was appropriate, since it reminded him of his mom’s ear. She was the one that listened when he asked questions.
            William Writer now had the basic rules he needed to convey thought. Having accomplished that task, he was really tired. He slipped off into blissfully slumber–his mind filled with well-organized thoughts.