New Views of You

 

da Vincis

 

It's interesting to observe how a player’s technique changes over time--and to think about other ways you've changed.

A few days ago I was watching a recent concert by Sting (Sting 3.0), and then watched some Police concert footage from 1979, and I realized that over time a player's technique can drastically change. Back in 1979 he played quite differently, using a pick on fretless. In the 90s he went back to a fretted bass and used a different right-hand technique, even doing some slapping. I've observed it in my playing as well where I'm playing differently now than I was even a year ago. I tend to approach the bass based on the other instruments I might be playing more, such as acoustic guitar or keyboards.

I'm also continually changing the way I write music. The way I write now is different than it's ever been, but is interestingly a combination of all the things that I've done cumulatively, and now sometimes includes AI-generated content. Sometimes your technique and approach change so radically that you can't recall how you played the way you used to. It changes like a singing voice can change over time. Sting's voice is stronger than it's ever been, but the bass playing has moved in the other direction.

What you value also factors into your approach: being more interested in writing will change performance and your production strategies. After I finish writing a song, I'm much less inclined than I used to be to endlessly tweak with sounds, but now more likely to tweak the sound I can get from my hands. If I'm focusing on the writing I can become almost indifferent to how I'm playing and go for a functional track subdued in a mix. The instrument itself also changes technique, especially if the instrument is difficult to play because of high action of other physical impediments. I watched a video recently where the bassist was playing with a snapped A-string. You could actually adapt to it and your playing would evolve if you only used 3-string basses.

We're all evolving as individuals, and for musicians, it shows up in our playing as well. Like Aesthetic Erosion, it's Performance Erosion, or a process of both erosion and accumulation, and forgetting how we used to be because we get used to how we are now. This is why it's important to revisit the former you to see what you might want to remember how to do--all the more important for artists decamping to AI. 

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From a 2009 interview with Umberto Eco:

SPIEGEL: You include a nice list by the French philosopher Roland Barthes in your new book, "The Vertigo of Lists." He lists the things he loves and the things he doesn't love. He loves salad, cinnamon, cheese and spices. He doesn't love bikers, women in long pants, geraniums, strawberries and the harpsichord. What about you?
 

Eco: I would be a fool to answer that; it would mean pinning myself down. I was fascinated with Stendhal at 13 and with Thomas Mann at 15 and, at 16, I loved Chopin. Then I spent my life getting to know the rest. Right now, Chopin is at the very top once again. If you interact with things in your life, everything is constantly changing. And if nothing changes, you're an idiot.