4C RH Bipolar
4 Channel Right Hemisphere Bipolar
How To: https://provider.brain-trainer.com/resources/bal4c-rh-bipolar
This particular design, the 4C RH Bipolar, is a type of bipolar training that trains a combination of effective bipolar montages. They are:
C4/T4 (reducing fast/increasing slow differences between the sites) often very helpful for reducing physical hyperactivity.
Fp2/T4 (reducing fast/increasing slow differences between the sites) often very helpful for reducing racing thoughts.
T3/T4 (reducing all differences between the sites) for emotional stability
P4/T4 (reducing fast/increasing slow differences between the sites) often very helpful for reducing sensorial sensitivity.
I do not generally use this protocol for slow-brained children or adults, but those with fast activity often respond very well to it. The protocol is automatically triggered on the plan (with an *) by one or more items on the Client Report relating to the issues the protocol trains.
Note that this protocol is training right hemisphere linkages–except for the classic T3/T4–to reduce excessive activation over the right, which keeps that hemisphere from functioning effectively.
The Bach Fugues have been shown to activate the right-hemisphere’s ability to function more integratively and dealing with complexity/novelty instead of the more rules-based and habitual strategy of the left. One explanation for this is that in the fugues, Bach works with multiple “voices” playing different lines that operate in counterpoint. The complexity overwhelms the left hemisphere.
If you happen to be training with BioExplorer, I chose videos that not only play the music but also provide a visual representation of the voices. I don’t train in the way outlined. I turn off Music and leave on Video (in BioExplorer the video player is loaded with the three videos/audios). I ask the client to keep eyes open, listen to the music and watch the video. I explain that in the beginning, where most pieces start with a single voice, he can see how the visual matches the audio, moving up and down and using longer or shorter notes. Then, when the second musical voice appears, the video adds a second line of a different color, and the client can follow how they work together, etc. I tell people it’s not about understanding, but about seeing and hearing and letting the brain make the connection, just enjoying the music.
I usually use the design for about 6 minutes–two of the shorter fugues (about 3 minutes each) or the Great Fugue, which is about 6 minutes. I run them with shadow feedback. I usually use them with eyes open, at least to begin. Leave the Video feedback on, but turn OFF the music feedback. There is music in the video, and adding the MIDI feedback often makes the sound more confusing and unpleasant.
I explain to the client that she will hear the music, starting with a single “voice”, and I invite them to watch the visual and see how the length of the notes is shown in the width of its visual representation and the pitch by its height. The visual music follows the audible music. Once they get that, then I ask them to notice how there are different voices, each with a different color, and how they produce different melodies and how the melodies work together in counterpoint.
After someone has gone through perhaps all three (two sessions), then I may ask them to try closing their eyes and listening to how the voices work together.
This is a very powerful protocol for bringing the right hemisphere, when it is way over-activated, into a more appropriate state. Music is a right-hemisphere domain, and tasks which are complex and don’t have any simple rules (left hemisphere) that apply to them use the right hemisphere. The combination can bring an overheated brain into a very different space very quickly. I prefer to feed it a bite or two at a time to minimize the potential for it to rebound.
Since this protocol is generally triggered in the plan by the Client Summary, it will often appear even when the brain is already very slow. I have not found it to be as powerful in those situations. I might use it once, just to see how the client reacts, but I often drop it after that with a slow brain.
Using different videos as feedback
You can certainly use other pieces of music. One warning, though: My sister was a professional musician (pianist/organist). When I used the 4c RH bipolar design with her, I was startled by her response. She began to criticize the way the piece had been played, the tempo, etc. compared to the way she liked to play it. In other words, instead of activating her right hemisphere, she ended up processing it rationally (left-hemisphere) and critically. That’s the opposite of what we would ideally hope to do with that protocol.