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	<title>Comments on: n=3!</title>
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	<link>http://www.mindsparke.com/brain-training-blog/brain-exercises/training-report-kane-session-4-n3/</link>
	<description>Working Memory Brain Training with Dual n-back</description>
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		<title>By: Michelle</title>
		<link>http://www.mindsparke.com/brain-training-blog/brain-exercises/training-report-kane-session-4-n3/comment-page-1/#comment-1596</link>
		<dc:creator>Michelle</dc:creator>
		<pubDate>Wed, 15 Jul 2009 15:38:22 +0000</pubDate>
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		<description>I found it tough, too.

In the end what got me to thinking in n=3 terms was thinking of it in terms of musical meter - bars in triple time (&#039;1,2,3,1,2,3&#039; - think of it as a slow waltz), with an imaginary heavy accent on the first beat of the bar (on 1).  That helped serve as a marker so I wouldn&#039;t lose my place.

Whilst holding the pattern of 3 in my head, when the new set came along I would actively mentally &#039;predict&#039; the next move - eg if the last set had a C on the first beat in the top left hand corner, my mind would actively go to that spot.  If it matched the thought in my mind I hit the A or L key as appropriate.

If it was different, I would mentally substitute that new letter/square for the last one in that slot in the pattern.  In that way I would keep a pattern of 3 in my head at all times, and then as it changed, I would change it gradually one by one, holding the other parts of the pattern in my head until they weren&#039;t needed and could be replaced by something else.

It sounds more complicated to describe than to do.  But it was a lot easier than trying to mentally count back 3 spaces.

The only drawback I find with this is that sometimes the voices seem to have a heavier stress on some letters, and that can throw you a bit if the stressed letter doesn&#039;t naturally occur on the dominant beat, especially when you get to n=5, because groupings of 5 are not common in Western music and a natural stress on a letter by the reader can tend to confound it more.  It&#039;s much easier when all the letters are read in the same tone (without undue stress on one letter), because I can mentally add my own.

I&#039;ve had a couple of tries at n=6, not terribly successfully - I got bounced back to n=5 each time.  But the beauty of using the musical meter technique is that theoretically n=3 should serve as a good preparation for n=6 and n=9, and the same technique for n=4 should serve for n=8, the difference being that instead of holding and manipulating one pattern of 3 or 4 in your head, you have to juggle 2.  It should have a similar effect to &#039;chaining&#039; techniques in digit span exercises (where you group the numbers into groups of 2, 3, or 4 instead of thinking of a single long string).

I haven&#039;t had much chance to test that theory fully yet at those levels, but I think it should work.</description>
		<content:encoded><![CDATA[<p>I found it tough, too.</p>
<p>In the end what got me to thinking in n=3 terms was thinking of it in terms of musical meter &#8211; bars in triple time (&#8217;1,2,3,1,2,3&#8242; &#8211; think of it as a slow waltz), with an imaginary heavy accent on the first beat of the bar (on 1).  That helped serve as a marker so I wouldn&#8217;t lose my place.</p>
<p>Whilst holding the pattern of 3 in my head, when the new set came along I would actively mentally &#8216;predict&#8217; the next move &#8211; eg if the last set had a C on the first beat in the top left hand corner, my mind would actively go to that spot.  If it matched the thought in my mind I hit the A or L key as appropriate.</p>
<p>If it was different, I would mentally substitute that new letter/square for the last one in that slot in the pattern.  In that way I would keep a pattern of 3 in my head at all times, and then as it changed, I would change it gradually one by one, holding the other parts of the pattern in my head until they weren&#8217;t needed and could be replaced by something else.</p>
<p>It sounds more complicated to describe than to do.  But it was a lot easier than trying to mentally count back 3 spaces.</p>
<p>The only drawback I find with this is that sometimes the voices seem to have a heavier stress on some letters, and that can throw you a bit if the stressed letter doesn&#8217;t naturally occur on the dominant beat, especially when you get to n=5, because groupings of 5 are not common in Western music and a natural stress on a letter by the reader can tend to confound it more.  It&#8217;s much easier when all the letters are read in the same tone (without undue stress on one letter), because I can mentally add my own.</p>
<p>I&#8217;ve had a couple of tries at n=6, not terribly successfully &#8211; I got bounced back to n=5 each time.  But the beauty of using the musical meter technique is that theoretically n=3 should serve as a good preparation for n=6 and n=9, and the same technique for n=4 should serve for n=8, the difference being that instead of holding and manipulating one pattern of 3 or 4 in your head, you have to juggle 2.  It should have a similar effect to &#8216;chaining&#8217; techniques in digit span exercises (where you group the numbers into groups of 2, 3, or 4 instead of thinking of a single long string).</p>
<p>I haven&#8217;t had much chance to test that theory fully yet at those levels, but I think it should work.</p>
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		<title>By: Shaun</title>
		<link>http://www.mindsparke.com/brain-training-blog/brain-exercises/training-report-kane-session-4-n3/comment-page-1/#comment-1594</link>
		<dc:creator>Shaun</dc:creator>
		<pubDate>Wed, 15 Jul 2009 14:46:36 +0000</pubDate>
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		<description>Yeah... I found n=3 tough too.</description>
		<content:encoded><![CDATA[<p>Yeah&#8230; I found n=3 tough too.</p>
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