RIFFS:
When we hear the word “technique”…
…our minds jump to conspicuous things:
slides
bends
vibrato
strumming
chicken picking
hammer-ons
pull-offs
tapping
directional picking
fingerstyle
etc
Yes, those are techniques. But really…
Technique is everything related to the physical act of making sounds with your instrument.
Most of it doesn’t have a name:
your posture
the amount of tension in your picking hand
how relaxed your fretting hand is
where your thumb goes on the back of the neck
the way the underside of your fretting fingers mute unwanted strings
how percussive your strumming is
the way your tone is affected by how close to the bridge you pick
Like the lighting guy, you only notice them when they’re terrible.
Technique should be invisible.
Here’s an analogy:
Right now, if you’re noticing my writing, I’m failing.
But if instead you’re engaging with my ideas, then my writing is doing its job.
Musical technique is the same.
When Phil Roach is whipping the crowd into a frenzy with his violin playing, no one is focused on the techniques he’s employing. He’s spent thousands of hours practicing them specifically so they’ll disappear.
Technique doesn’t live in a vacuum.
It’s dependent on (and in service of) being:
in time
in tune
and with dynamics.
Practicing technique isn’t just a physical exercise.
It’s an act of refining your perceptions.
This is an empowering idea.
The best way to practice technique is by recording yourself:
Record a short passage.
Listen back (while watching the waveforms).
What do you notice? Make a subtle adjustment based on that.
Repeat the process.
De-automate a technique. Hyperfocus on minute details. Then let go.
You’ll know you’ve got it…
…when you can stop thinking about it.
Next Wednesday we’ll cover the approach used by EVERY badass I’ve ever met.
See you then.
-Josh