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Striving for Optimal Bass Practice

by S. K. Wallace

You've all heard it and have probably said it at some time: "Practice makes perfect!" The phrase is so ingrained in the vernacular that it's almost become a cliché. However, I'll never forget hearing legendary guitarist and music educator Kenny Frazier challenge the statement and make the following critical amendment, "Practice doesn't make perfect!" [There was a stunned silence among the workshop attendees who had so enthusiastically proclaimed the original saying.] "Perfect practice makes perfect!"

While I have no question that Kenny's practice really is indeed perfect, and that is something we all should aspire to, I'm also realistic, so with the idea of moving beyond mere "practice" or struggling to improve simply by working longer and/or harder (but still doing the same old things), let's talk about "optimal practice" and making the most of your individual time, energy, effort, resources, and opportunities, especially as it applies to practicing the electric bass.

FUNDAMENTALS OF OPTIMAL BASS PRACTICE

Make practicing your bass a required, regularly scheduled part of your daily routine. Tasks like brushing your teeth and showering aren't "optional" activities in your daily life (hopefully). You don't skip them because it's too late, you're too tired, too busy, don't feel like it, etc. Ideally, you also give attention to things like exercise, nutrition, recreation, rest, etc. All of these routine activities are just that, "routine," meaning that they occur at regular intervals, at generally the same times of day, every day. Give equal priority to practicing the bass.

Figure out a time when you can and will actually fit it in . . .maybe it will mean getting up thirty minutes earlier, phasing out some lower priority or nonessential activity, using part of your lunch break, etc. Regardless of how overbooked and overextended people are, they always seem to manage to make time for whatever things they either consciously or unconsciously choose to establish as priorities. Once you decide on a time for bass practice, write it down on your calendar, planner, etc. just like you would an appointment.

If you don't have a block of 30-45 minutes or an hour to dedicate to bass practice, see where you can fit in two or three 10- or 15-minute mini-practices. Finally, practice should be daily because experience has shown that even as little as 15-20 minutes every day has greater cumulative effects and benefits than a several-hour marathon cram session on the weekend (or the night before a lesson).

Break large projects down into smaller, manageable tasks. It can be overwhelming, especially in the early beginner/intermediate stages, when confronted with the prospect of processing and assimilating a large amount of information all at once whether it's an entire piece, several scale patterns, or the diatonic chord/arpeggio progressions. However, most people can learn one scale pattern, one finger exercise, one arpeggio, or one groove at one sitting. When working on a song, commit to learning one section (e.g. the intro), and if that's too much, narrow it down to one line, one phrase, one measure, or even part of one measure. When you get one part down, move on to the next manageable portion. Any progress, however small, is still progress, and it's the trend that counts.

Set (and put in writing) a variety of specific objectives, both short-range and long-term, balance your practice sessions to adequately address all of them, and keep track of your progress. Have 3-5 definite goals in mind for your bass practice. Examples might include sight-reading exercises and music notation studies; finger exercises for strength, agility, coordination, and independence; scales, chord/arpeggio structure and progressions; repertoire development by learning songs, and ear-training practice by listening to and figuring out bass parts from recordings. You might spend a little time on each goal every day or you could work on two or three different goals on alternating days. Having your objectives and noting progress in writing keeps you on track and provides perspective. It can serve as a tangible record of what you really have achieved. Also, if you accomplish things that weren't originally on your list, add them to it; they still count.

In the sequence of your practice time, address the most difficult/challenging material first while your mind and muscles are still fresh. By facing this stuff head-on, you build confidence and competency. When you've made some definite, tangible progress on a task that you find to be particularly hard, balance it by practicing something that is easier and fun! For example, after working out a difficult jazz progression or note-reading study, do some ear-training by listening to a favorite CD and seeing if you can figure out some bass grooves. This way, you reward yourself for your effort, have fun, and get a break, but you are still being productive and continuing your bass practice at the same time.

Timing is everything. The bass is the foundation and pulse of most music. If you play with a band, you can't afford to be off. Practice everything with a metronome at least part of the time, especially when you're first learning it. Always using a metronome while playing finger exercises, scales and other drills allows you to multi-task: You'll be developing an impeccable sense of timing in addition to working on the other technical objective at hand. If you have computer access, consider investing in the relatively low-cost and easy-to-use "Band in a Box" software to create instrumental accompaniment to play along with. Not only will you have to play in time, you'll have a sense of performing some "real" music with "the band."

Don't practice material you already know. Playing what you are already proficient in is NOT "practice," but rather rehearsal. While it's fine to play something you enjoy and know well to warm up, show off, or take a break, use your "on-the-clock" practice time to address what you don't know yet. Even within the context of a particular song, it's a good idea to isolate certain phrases or sections within the piece or even work backwards rather than always taking it from the top and continually rehearsing and polishing the first part . . . otherwise the middle and end sections are never as good as the beginning.

Sneak in extra practice whenever you can. Now, I'm referring to additional practice outside of your daily, scheduled, focused practice, but why not make an activity like watching TV or recreationally talking on the phone productive by getting out the bass and working through some relatively simple, (I hesitate to say "mindless"), repetitive activity like a finger exercise, coordination/dexterity drill, maybe a scale, or an arpeggio. [Note: While on the phone, be sure you're unplugged, and don't get caught, especially if you're on the phone with your mom, significant other, etc. who'd be offended if you weren't giving your undivided attention.]

IDEAS TO ENHANCE OPTIMAL BASS PRACTICE

If at all possible, study with someone whose playing and teaching career you respect. Natural talent; self-directed studies; "teach yourself" books, videos, CDs; listening to recordings, etc. are all good places to start, and unquestionably, some of the most outstanding bass players of all time have been self-taught. However, considering the relative newness (compared to other instruments) of the electric bass, realize that many of the earlier, first- and second-generation bassists were self-taught out of necessity rather than by choice. That's changed now that the bass is coming of age. If you have the chance to study with someone better than you, DO IT! If you can't manage a weekly lesson, see if you can schedule something every other week or on an as-needed basis. The "in-person" guidance, instruction, feedback, correction, encouragement, motivation, and accountability are invaluable, and your practice will be more productive with regular outside evaluation and input.

Attend camps, master classes, workshops, seminars, and festivals. Bass players, particularly teachers and people who play professionally, are probably among your best leads in finding out information about these events because they or their colleagues are often instructors and/or featured performers for them. On-line research also might be a good way to locate these types of things. They can be generalized or focused on a specific musical genre (e.g. country, jazz, rock). It gives you the chance to interact with some great players in a relaxed, low-pressure environment. You also benefit from being around other players of all levels, who can inspire you as well as build your confidence. [Note: A common misconception about "master classes" that I've only recently become aware of is that some people think that the participants have to be "masters" to attend, where in reality, the concept is that the class is being taught by a "master."]

Avail yourself of quality supplemental media resources. Use books, videos, and internet research to find out inside stories on various "Great Heroes of the Bass" . . . how they started and evolved, their approaches to learning and practicing, and their views on various bass-playing issues. (e.g., Did you know that when he was already an established bassist, Jaco chose to learn to read standard music notation and taught himself by using the works of Bach, no less? I saw it in a video interview, very eye-opening . . . I think it should be required viewing for anyone who balks at learning to read music!)

RESPONSES TO COMMON PROTESTS AGAINST PRACTICING

"Well, I don't have to practice because [insert the name of your personal bass hero here] says HE NEVER PRACTICES!" That may be true, but with all due respect, let me gently proffer the following comments, (that many bass teachers have no doubt thought when students come out with statements like this, but in the interest of avoiding major conflict, refrain from saying).

First, as much as I hate to even suggest it, and not making any kind of value judgment, seriously, seriously consider what this bassist is actually doing . . . and compare it to the work of bassists who are generally considered the "standards" for bass greatness. If someone is just percussively flailing away on a single, driving note, (not going to attempt to type it out here phonetically . . . you know what I'm talking about!), that probably doesn't require practice (or at least not much!), . . . and it may be all that the particular song or music style requires, . . . and it may be incredibly popular, commercially successful, and even win a Grammy! So if that's all you need or want to do, fine, but if not, well . . . you can complete the thought.

Secondly, if this bassist is truly outstanding, by anyone's definition, chances are that:

a) He or she is an incredibly gifted, talented musical genius, an unrepeatable phenomenon in the course of all humanity, the likes of which the world has never seen before or since, and/or
b) This person really did practice early on, laying the groundwork and foundation, paying his or her dues, arriving at a level of expertise such that it is now maintained simply through a wildly successful and demanding performing and recording career.

Now, the reality check: How many of us can honestly say that either of the above personally applies to us?

"These [finger exercises, drills, sight-reading etudes, scales, chord/arpeggio studies, etc.] aren't music! They're NOT what I want to play!" No kidding . . . I honestly wouldn't want to perform or attend a concert of this stuff . . . nobody would, but if you have a lot of resistance to these vital practice elements, try changing your perspective. These seemingly mundane, unmusical, and at times very tedious and/or difficult activities are building a foundation. I was told early on that they are the tools I need to assemble and to learn how to use to move on and eventually play the cool stuff. Believe it or not, even the most unremarkable (on the surface) note-reading exercises contain standard patterns that will continue to reappear in other, more interesting contexts; learn them now, and you'll use them in "real life" later. Mastering the technique and theory associated with playing the bass will equip and empower you to "learn how to learn" such that you can listen, read, analyze, and figure out things you really want to play on your own. [ . . .and if all fails, keep reminding yourself, "I'm learning this so I can play the cool stuff!" . . . it's what I do.]

"I'm just playing 'for fun,' so I don't need to practice." There's absolutely nothing wrong with playing "for fun," but as an acquaintance who is a very young (nineteen at the time) music student and performer ever so astutely (and indelicately) put it, [and I quote directly], "Well, it's NO FUN if you suck!" Harsh? Yes, but true . . . having fun and being competent are not mutually exclusive, but rather complementary. You will undeniably have more fun playing the bass if you play well . . .so

. . . LET'S GO PRACTICE!