are pushing“ on top” with the time or pulling“ behind” with the time and unintentionally creating a sense of urgency or clumsiness with your timing. This is best done when you are playing your groove to an external timing reference like a metronome or drum loop.
Another idea might be instead of“ working on technique” in a general sense, define a specific physical outcome, such as achieving a lighter right-hand touch, overall reduced tension, or more consistent articulation across strings without excessive fret or string noise. Measurable goals create feedback and accountability, and this feedback and accountability is what turns your effort into real progress.
BALANCE TECHNICAL GROWTH WITH MUSICAL APPLICATION Technique is most valuable when it fills a musical need. Stated in a different way, the ability to spontaneously hear and play an ingenious line or phrase is useless if your hands cannot execute it successfully. If you decide to work on your finger independence and alternation, first apply it to bass lines you are already familiar with rather than isolated drills alone. That allows you to start immediately applying the benefits to actual music and helps speed up the attainment of your goals in actual playing situations. Of course, sometimes you must break things down first using more focused exercises just to wrap your head and hands around the technique, and this is completely acceptable. But ultimately you want to carry these concepts into your actual performances.
This approach reinforces the idea that technique is a means, not an end. It also keeps your practice sessions engaging and challenging. Progress feels more real when it shows up in rehearsals, gigs, and recordings rather than only in the practice shed.
DON’ T IGNORE TONE, TOUCH, AND SETUP Tone-related goals are often overlooked because they feel subjective, but they’ re some of the most important improvements you can make. You might decide to develop a lighter plucking touch for better consistency, learn how to dig in without overplaying, or refine your muting technique to clean up noise from sympathetic string vibrations.
This is also a good time to evaluate your instrument setup. A bass that does not respond well to your playing style or“ fights” against you can massively inhibit your progress. Attributes like action height, string gauge, and pickup placement significantly influence how your hands interact with the instrument. Understanding those relationships and adjusting your setup accordingly can unlock improvements that no amount of practice alone will achieve.
BUILD GOALS AROUND CONSISTENCY, NOT PERFECTION Finally, remember that meaningful improvement comes from repetition, not intensity, and just as importantly, from quality rather than quantity.
Practicing for 15 – 20 focused minutes most days will almost always outperform spending hours working on material you’ re already comfortable with. Build a practice routine that realistically fits your lifestyle and sets you up for success. Avoid setting lofty goals that you’ re likely to miss, as that can quickly turn motivation into frustration. Ultimately, the real measure of success isn’ t how long you practice, but how consistently you show up and execute your routine, even if it’ s only a few focused minutes a day. Set goals that fit into your life, not an idealized version of your life.
Meaningful musical progress is rarely dramatic from week to week. It’ s progressive, cumulative, and often only obvious in hindsight. Trust the process and revisit your goals periodically. Don’ t be afraid to modify your routine as often as you need to in order to evolve it. A new year and a new set of goals doesn’ t require a complete reinvention of your musical identity; sometimes the most powerful goals are simply refined versions of what you already do well, but with more intention, direction, and confidence.
Until next time!
Adam Nitti Nashville-based Adam Nitti balances his roles as a solo artist, sideman, and educator. He has filled the bass chair for Kenny Loggins, Carrie Underwood, Dave Weckl Band, Michael McDonald, Susan Tedeschi, Steven Curtis Chapman, Mike Stern, Brent Mason, Wayne Krantz, and Christopher Cross, while also releasing five solo CDs to date. As a Nashville session bassist he has played on multiple Grammywinning and Grammy-nominated albums, and is also the founder of...
AdamNittiMusicEducation. com
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