Well I had a gig last night and the guy who's the head of the local "music school" said I head a lot of talent and potential to be a great bass player. He also remarked that i have a very weird thechnique. I said it was mainly due to the fact that my on stage technique is always sloppy/weird/ because my main concern is getting the goove right instead of having to worry about my technique.
So I thought I might just drop this question here.
Do you guys pay much attention to technique while on stage?

Hey--sounds like the local music teacher thinks you have a good ear for music, which is the most valuable gift to have. Getting into the groove is certainly the most important thing.

He is right that correct technique is necessary to be a good musician. As you progress to more difficult music, a sloppy technique can limit what you can achieve. If your hand positioning is inefficient, you could tire quickly, or worse, hurt yourself. Likely, you won't be able to play as fast or as with good a tone without some discipline.

So what is technique? I think it just mean developing your mind and body to work efficiently and effortlessly. It doesn't mean playing like a robot or playing super fast. In fact, playing slow requires more training and technique than fast playing. Don't believe me? Try playing a tune accurately at Metronome=46 bpm. Sloppiness just doesn't go that far.

Training and learning are two lifelong partners in music. The great Segovia used to practice 4 hours a day when he was in his 80s, in the twilight of his career. Just think of how you can benefit today.

JuR,

Yes and no, in answer to your question. The guy from the local music school would probably want you to drop your current technique in favor of one that he teaches. While that might be good on a academic level, you have to ask yourself, do I want to improve my technique (especially since it might require you to start over)? There are plenty of fine players out there who use unorthodox techniques. For example, Abe Laborial is one. He has a physical limitation (he got his finger caught in his mother's washing machine wringer as a child) that dictates that he play a certain way, Jimmy Haslip plays left handed with right hand string tunings so he would be considered to play backwards and upside down... I find that most exceptional players do so in part because of exceptional technique. Some would even say they had "Bad Technique". In the final analysis, who am I to judge? James Jamerson used just his RH index finger to pluck notes, Carol Kaye plays with a pick, Chuck Rainey... the list goes on and on.

When some one comes up to you and basically states "you'd be a great player if you changed your technique", I believe they are not taking into consideration what you bring to the table (with regards to technique), or why you present your technique in the manner you do.

This message has been edited by BassLand on 02-27-2001 at 10:19 PM

Wow! Could you have asked for two more different replies? Ed, are you sure that this isn't an economics forum?

Well, I wanted to come up with a really profound answer to the question, but I think if you combine both the answers already posted, you'd have it! They're both right! "Proper" technique is important to develop a solid approach on the instrument and the ability to function in highly demanding environments. BUT.....unorthodox approaches yield original concepts. Can't argue with Abe Laboriel...in spite of his "improper" technique, he was one of the top calls in LA for many years, same with Jimmy Haslip. So...who is right?

I'd probably suggest that JuR get some grounding in the traditional technique, and continue to feel free to experiment. I also agree with Bassland that the guy may be trying to recruit JuR for his music school. (Not that there's anything wrong with that, maybe he'll cut you a deal if you work with him). Nothing wrong with education as long as the source is reliable.

<< I said it was mainly due to the fact that my on stage technique is always sloppy/weird/ because my main concern is getting the goove right instead of having to worry about my techniqu>>

This statement sounds like a continuation of the old superstition that if you get your chops together, (or learn how to read, or learn theory) you'll lose your natural groove. Personally, I think you don't ever need to "worry" about your technique. Once you've established a solid set of chops (it takes a while) you don't even think about it, and I bet you'll groove even harder!



------------------
http://www.edfriedland.com