The technical bassist. Old school or new school?

[Mike Dimin]

One problem I see in the "state of bass" is that too many rely on technique. Because technique is easier to learn then musicality, because, we, as a society, do not currently have the ability to discern art from flash, we are, then, in awe of the "musician" that demonstrates technique over art. Many have lost the ability to really appreciate art, or even understand it.

Techniques are just tools in a toolbox, nothing more. Michael Tobias and I can have the same tools, but he can build a masterpiece and, well, I can build NOTHING! Does having more tools help? Yes, of course, but only if you know what to do with the tools. Learning how to use an overhead pin router and carving a masterpiece with it are very different. Learning how to slap, tap, play rapid fire 16th notes, chords are all great, but if you cannot make music with it, make a masterpiece from those tools, is also very different

Dimin

 

[kevteop]

Because those skills can help you play meat and potatoes bass better, too. Why wouldn't you want to develop yourself as far as you could go? "Eh, it's just bass...no sense in getting good at it..." Sorry, does not compute, Kev.

I do take pride in what I play and I try to be a good, useful musician, I'm just saying I think there's a limit - arguably it's different for everybody - but there's a limit where you go 'OK that's good enough, diminishing returns are kicking in and the rest of the stuff on the to-do list isn't really worth the massive amounts of time it'll take.', no?

And I think tapping is a good example.

 

[Mike Dimin]

I do take pride in what I play and I try to be a good, useful musician, I'm just saying I think there's a limit - arguably it's different for everybody - but there's a limit where you go 'OK that's good enough, diminishing returns are kicking in and the rest of the stuff on the to-do list isn't really worth the massive amounts of time it'll take.', no?

And I think tapping is a good example.

It all depends on your perspective. I am a pro, this is what I do for my livelihood. I cannot afford to turn down a gig, because I do not have the requisite techniques to pull it off

 

[Fergie Fulton]

Is it just me or does anyone else find the idea of a purist way to play an instrument that's only 60 years old that is mostly used to play a 55 year old Art Form hysterically funny?

Just catching up with this thread and there are indeed some great points in it, this one of Roy's always makes me smile when when the words tradition history, or proper way are used to describe our instrument when it is the electric bass guitar.
As for technique, it needs to be musical led, the ideas for improvement always come from learning new musical ideas never never technique.
Yes a new technique can show a related improvement but rarely an increase in musicality or music ideas. If you were a struggling player then learning a new technique means you have learned a new way to represent your struggle. Think about it if you have nothing to say or offer but chit chat, then learning Spanish is not going to change that, same as learning Russian, French, etc will not improve your knowledge, the substance of what you say will still be chit chat......as it is with techniques.....you still think and play the same way and fall on the same dominant habits, but using a different technique. It will not be long before a slump comes along, or a feeling of dis-contentment because you are not learning, merely going over what you already know but in a different way. The challenge is the different way, but that will be easily learned, then the problem is back to having nothing of substance to offer, only chit chat, so another technique is learned and so the circle continues.

 

[phillybass101]

I play funk and R&B. In these genres the bass IMO really stands out and the basslines are fun to play. First and foremost the other players in these formats don't want a showoff. They apprciate chops. Chops are one thing but being tastefully funky and solid in my grooveplaying is my meal ticket I have made more money playing what's going on or shake your booty than my interpetation of Victor Wootens slap style. Shredding on bass to me after awhile gets too one dimensional and becomes boring. There are many cats out there who slap better tham Marcus Miller but few are as tasteful or groove oriented as he is. I heard Marcus was a millionaire by the way

 

[Russell L]

Just catching up with this thread and there are indeed some great points in it, this one of Roy's always makes me smile when when the words tradition history, or proper way are used to describe our instrument when it is the electric bass guitar.
As for technique, it needs to be musical led, the ideas for improvement always come from learning new musical ideas never never technique.
Yes a new technique can show a related improvement but rarely an increase in musicality or music ideas. If you were a struggling player then learning a new technique means you have learned a new way to represent your struggle. Think about it if you have nothing to say or offer but chit chat, then learning Spanish is not going to change that, same as learning Russian, French, etc will not improve your knowledge, the substance of what you say will still be chit chat......as it is with techniques.....you still think and play the same way and fall on the same dominant habits, but using a different technique. It will not be long before a slump comes along, or a feeling of dis-contentment because you are not learning, merely going over what you already know but in a different way. The challenge is the different way, but that will be easily learned, then the problem is back to having nothing of substance to offer, only chit chat, so another technique is learned and so the circle continues.

Well said, Fergie. As I was reading I was thinking of how many times I have thought about how many different colors can be applied to the same ole lick or style. That is, the art can take place way down at the most rudimental aspect of music. Just a simple walking line can take on so many ways of feeling as the player becomes more proficient with articulation. Just one measure's worth can be expressed a thousand different ways. I've alwasy like to say, "It's all about articulation," but probably should just say, "It's a lot about articulation." Anyway, I find the musicality in the simplest things, and in trying to say the simplest things in new ways. I get way down in there at gigs.

 

[Fergie Fulton]

I will always say to students, well any player really, listen to Stand by me, listen to Ben E Kings vocal, then the arrangement, then try and come up with a better bass line to suit. In my opinion non have done so yet......and I have used this example for over 25 odd years. The song is pretty timeless because it has simple musicality in it, but musicality all the same and music for the sake of music.

 

[Mike Dimin]

As for technique, it needs to be musical led, the ideas for improvement always come from learning new musical ideas never never technique.

Absolutely. Any technique(s) that I have learned or invented was done so for only one reason - to be able to play what I heard in my heard

 

[smeet]

So......
Technical = Fast?

Yeah, in rock and maybe jazz a lot of players conflate those two things.

I was a classical violinist for many years, and when we mentioned "good technique" we meant beautiful tone, relaxed posture, clean execution, excellent intonation, and a general all-round good touch on the instrument. EVERYONE was expected to be able to play fast.

The bar in most modern music is set so low that playing fast is deemed something special. It's not, and everybody should be able to play fast and clean so that they can *choose* whether to play that way based on musical criteria, not physical limitations.

IMHO.

 

[Fergie Fulton]

Yeah, in rock and maybe jazz a lot of players conflate those two things.

I was a classical violinist for many years, and when we mentioned "good technique" we meant beautiful tone, relaxed posture, clean execution, excellent intonation, and a general all-round good touch on the instrument. EVERYONE was expected to be able to play fast.

The bar in most modern music is set so low that playing fast is deemed something special. It's not, and everybody should be able to play fast and clean so that they can *choose* whether to play that way based on musical criteria, not physical limitations.

IMHO.

The same bar they use on X Factor where the exclaim " all the acts tonight are singing live folks...." Singing live it seems is a special skill to have, rather than to be expected...really....it is the first thing they need and above all else the minimal skill to qualify as a singer. LOL

 

[Jim Goodwin]

Although this is an old thread, I think it is still very relevant. As I read through, I could not help but remember a great quote from B.B. King.

I consider myself a blues based bassist first and foremost. I have play Country, Rock, Metal, Prog, Jazz, Blues, and Pop in a wide variety of settings for nearly 30 years and I still live by this simple quote I read in a Guitar Player Magazine article many years ago.

When asked what advice B.B. would give young players he said: "...Learn everything you can, then forget it and play."

Technique allows us the freedom to express the music we hear in our heads and our goal as musicians should be to master our techniques to the point that we can play whatever we hear in our dreams. and then just plug into that open channel of emotion and let it pour out from us.

That is the place where music really becomes the great unspoken communication that it can be.