Myths and Mysteries about Technique

I believe in clarifying terms, not to dwell on word-play or language, but to identify concepts and approaches to get things done. In our journey as musicians, the term “technique” gets tossed around and is used to describe many different things. Let’s examine this, and find a definition that helps us move forward.

Technique vs. Vocabulary

For the purposes of this article, we will consider vocabulary to be musical material that actually finds its way into our performance, more or less intact.

• Repertoire: Songs, melodies, classical pieces, original compositions.
• Improvisational elements: Transcribed and composed licks and musical patterns.
• Style: Voicings, comping patterns, endings, reharmonization concepts, rhythms and grooves. History and influences are very important here.

These elements contrast with “raw” technique, which, used without interpretation, will probably be too predictable and repetitious to entertain anyone, but are needed as “tools” to get the job done.

• Scales and arpeggios, especially long, multi-octave exercises, in all keys and modes.
• Reading technique: The ability to find what we see on the page on our instrument, without looking at our hands. (this is particularly important on keyboard and guitar, where we often orient ourselves visually.
• Harmonic patterns: Knowledge of where everything is on your instrument, such as chord progressions, cadences, intervals in various key signatures.
• Rhythmic and articulation accuracy: The ability to play cleanly and evenly.
• Tone production, intonation, endurance. These vary with the instrument. (I’m known for my intonation on keyboard… just saying)

We can conceive of this dichotomy in this way:

Vocabulary: What we want to play

Technique: The skills we need to successfully use our vocabulary

Pitfalls

Mixing up these two, or working on one without the other, will likely lead to frustration and to lack of confidence when we perform. As examples, if we practice technical exercises excessively without application and style, we will have difficulty finding anything engaging and interesting to play, because the nature of our practice is entirely “hypothetical.” Conversely, many musicians only practice songs and pieces, without enough foundation; this will make learning new things difficult, since we don’t have enough skill, strength and flexibility to adapt. Here are some profiles of how this can play out: (pun intended)

• “Street-wise” musicians who can groove, know a lot of songs, can engage the audience, but who can’t read, play in all keys, and who need to rehearse a lot in order to perform new material. They may turn down challenging gigs, losing possible opportunities, preferring the “family” atmosphere of a band, even if it is going nowhere. They may even try to “shame” their more technical colleagues as being “slick” or “too dry.”  They are likely to have lots of “style.” This could be considered the “expedient but sloppy” type.
• Perpetual students who practice obsessively, building a massive set of chops, but without any real-world experience. They may find refuge in the “system” as teachers, or in very structured musical situations where they don’t have to take any chances. They may not know a lot of tunes or how various influential musicians sound, nor will they know as much about how to “wing it” on the gig. Call this the “OCD” type. They also are likely to be at higher risk for repetitive-stress injuries like tendinitis.

Really, it’s clear there is a continuum between these two extremes, and the best musicians are probably found in the middle, with various personality types tending to one side or the other.

What to do?

As always, the answer is probably to confront the things you fear most.

• If you can’t read, this can be fixed. Start playing simple pieces and make it a daily routine. Find a teacher to help, if you like, to guide you to resources.
• Readers should learn songs by ear, try to compose, and try to improvise.
• If your scale/raw technique is sloppy, develop a routine to give yourself confidence.
• Don’t put down the “other guy” who is your opposite; learn from them. Readers, start jamming with the “street” musicians. Jammers, get a lesson on clean playing, theory or reading.
• In general, be courageous and remember that nobody has it all, and everybody could be better at something.

Questions:

• Where do you sit on the continuum of technique/style?
• What do you fear most, and what would it be like to have that skill?
• Who can you learn from?
• What kind of experience would benefit you most?