Why you (and I) still need lessons Regardless of whether you’ve been playing bass for 2 weeks or decades there are always things about your playing that could do with…
Why you (and I) still need lessons
Regardless of whether you’ve been playing bass for 2 weeks or decades there are always things about your playing that could do with improvement – the problem is that it’s very difficult to be truly objective about your playing while you’re in the act of playing; too much of our mental processing power is taken up with the task of playing music, so it’s tough to accurately critique yourself while making music.
One idea is to record your gigs and/or your practice – whilst this can be a useful tool in assessing your playing, it might not always be the best thing:
- Your current gigs might not reflect the way that you’d like your playing to sound; if you’re looking to master improvising over changes, then recordings of you playing ‘Superstition’ or ‘Dancing Queen’ at last weekend’s wedding gig won’t be particularly relevant.
- Recording your practice might be more indicative of what you’re working towards, but everyone is the best player in the world when they’re in their own room and there’s nobody else about. It’s also easy to kid yourself that everything in your practice sounds great (you might not even hear the things that need work).
So, what you need is a second pair of ears to give you feedback on your playing and direct your practice with the aim of reaching your musical goals. This doesn’t have to be a teacher in the traditional sense, it could be a ‘critical friend’ – a bandmate, other musician or another bass player who you trust to be objective about what your playing really sounds like.
One issue with asking this of a friend is that they might not want to be brutally honest about what you need to work on – they also might not hear any areas for improvement either; the best option is an experienced teacher who has no other agenda other than helping you to improve your playing.
It should be noted that even after 18 years of playing the bass and almost a decade of teaching I still try to take lessons whenever I can; there’s nothing more powerful than the occasional reality check to get rid of any musical complacency that might have set in.
What type of lessons?
Studying the bass can come in many different forms, the main formats of lessons are:
- 1-on-1, ‘in person’ lessons
- 1-on-1 lessons via Skype, Facetime or similar
- Group lessons ‘in person’
- An online subscription service
Of these options, I’d strongly recommend the first one – there’s no substitute for getting in a room with someone more experienced than you and gaining immediate feedback on your playing. This is also the best format for asking specific questions and getting detailed answers about any areas that you’re not sure about.
The other benefit of regular, in person lessons is that they makes you accountable for your learning; you have to show up every week (or every fortnight) and show that you’ve put in the hours in the practice room, otherwise you’re wasting your teacher’s time and your money. Whilst the online subscription option provides easy access to a huge amount of lesson content, it requires tremendous self-discipline to log on regularly, decide what it is that you really need to work on and stick to it – due to the constant influx of new content, it’s very easy to get sidetracked and just work on what’s been most recently uploaded. Although this feels like the most exciting option, it has the potential to leave you with a very broad but shallow knowledge base.
Finding the right person
Assuming you’re looking for a teacher to give 1-on-1 lessons in your local area, what criteria should you be looking for?
1. Find someone who actually works
Your top priority should be to ascertain how much your prospective teacher gigs (or engages in other musical work, e.g. recording sessions). If they’re of an age where they might have had enough of gigging or they might be focusing on teaching over other things, then make sure that they have done plenty of varied work at some point in their career. And here’s the clincher – make sure that they’ve been hired by other people. It’s very easy to manufacture a lot of hype about yourself and make it seem like you’re a big deal by creating an online prescence consisting entirely of projects that are of your own invention, so seek out people who get booked by others because they are musically skilled.
2. Make sure they deal in musical facts
What do I mean by ‘musical facts’?
I mean the fundamental elements of music: harmony, melody, rhythm. This may manifest itself in a teacher who emphasises things like chord tones, ear training, sight reading and transcription.
If in doubt, my rule of thumb a teacher who works solely from TAB and encourages things like ‘finger independence exercises’, ‘string crossing drills’ or ‘two-handed tapping etudes’ is a witch and, as such, should be burned at the stake.
It’s the easiest thing in the world to go to a teacher to learn flashy slap bass licks and other associated circus skills, but the reality is that those abilities are required for precisely 0.01% of paying gigs that exist in the real world.
If you are fully conversant in musical facts, then you can easily direct your learning in whatever direction you wish. However, if you’re a slave to finger patterns and numbers then it’s hard to make any real sense of anything.
3. Do they really know their stuff?
One way to increase the odds of finding a teacher who deals in the above musical facts is to seek out someone who has formal musical training, possibly in the form of a music degree. Now, there are plenty of great players who didn’t go to music college and don’t have a degree, and the academic music path is certainly not the only (or best) way to do things, but I’ve always found there to be a strong link between formally studying music for an extended period of time and possessing the skills necessary to perform at a professional level; this is not to say that there aren’t exceptional players who aren’t ‘schooled’ (or terrible players who are), but they tend to be in the minority.
In closing, here’s something to ponder:
Everyone is self-taught. Noone is self-taught.
Think about it – even if you’re operating ‘under your own steam’ then the information still has to come from somewhere; knowledge doesn’t exist in a vacuum and even if you’re watching YouTube videos, trasnscribing solos from recordings or reading instructional books then you’re still getting the information from someone else. The other side of the coin is that if you go to a teacher (or enroll in a music school) then you still have to do the work – a teacher can show you the right door, but you have to walk through it.
Here endeth the sermon.