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Balancing Long-Term Mastery and Short-Term Musical Functionality · The Steve Stine Podcast

• 0:36
  Steve: So something I think is really important for you when you're trying to develop a practice routine is think about the things that you want to develop long term and then the elements that you need short term, and there's all kinds of different ways that you can do this.
• 0:51
  Steve: Let's just start with pentatonic.
• 0:55
  Steve: We're learning how to visualize this pentatonic scale across the entire fretboard.
• 1:06
  Steve: That's our long-term goal, and so every day, you know, we practice visualization, memorization, we practice skill sets of being able to play each position and connect to each position, that sort of thing.
• 1:19
  Steve: That's long-term.
• 1:20
  Steve: Short-term, we want to have a position, maybe a couple positions, something that we can use in the real world.
• 1:31
  Steve: Right, maybe we're learning how to improvise.
• 1:34
  Steve: So, long-term, we want to learn how to see this scale across the entire fretboard.
• 1:39
  Steve: Long term, we want to be able to improvise using this scale, moving freely in and out of every position.
• 1:46
  Steve: That's our long term goal, which is a great goal to have.
• 1:48
  Steve: But short term, what we need to be able to do is utilize a position or two positions in a creative manner so we can actually use it in our playing and maybe in our performance or whatever it might be.
• 2:02
  Steve: So what might be smart is, long-term we're learning to visualize this in one key, because this idea of well, if we want to play another key, all we do is move everything up or move everything down, which is true, but in reality sometimes it's massively different in your brain and just because you're moving it up or down doesn't mean that you see everything holistically when you shift it.
• 2:31
  Steve: So it isn't just a matter of visualizing it, it's learning to maneuver through it too, right, the technical aspect of playing it.
• 2:38
  Steve: So oftentimes it's better if you choose.
• 2:42
  Steve: In my opinion, it's better if you choose one key that you see as valuable in your world.
• 2:47
  Steve: Maybe it's the key of E minor or the key of A minor or whatever it might be.
• 2:51
  Steve: And long-term, you're learning to visualize this and you're practicing meandering and movement and all these things through all these positions.
• 2:59
  Steve: But short-term, you've got a couple of those positions that you're really honing in on learning how to play in a more creative way Phrasing, you know, melodic connection, all of these kinds of things that you might do, certain licks that you're learning, whatever it is.
• 3:15
  Steve: And the reason why you're doing that short term is because now, all of a sudden, you've got a jam with a band and they're playing in G minor.
• 3:23
  Steve: And Well, you, holistically, are not ready maybe to see G minor across the entire fretboard the same way you were doing in E minor, for instance.
• 3:35
  Steve: But short term, you've developed the ability of being able to play in these one or two positions and make really good music with it.
• 3:41
  Steve: Or all of a sudden you're in the key of B flat, which is maybe an awkward key for you.
• 3:46
  Steve: So again, you don't have the luxury of the entire fretboard right now.
• 3:51
  Steve: You're going to go for this short-term thing, this slice, if you will, of the fretboard, so you can get the job done and still do a great job, still be very effective.
• 4:00
  Steve: But instead of just worrying about the visualization of the fretboard, you're working your way upward too, right.
• 4:07
  Steve: So we're not just worried about the visualization of the entire fretboard, the practice of the whole fretboard, all of that kind of stuff, but we're actually kind of slicing through upward to get to that creative level.
• 4:19
  Steve: So, even though we're not seeing the whole fretboard, we're able to make some creative choices, some musical choices, with just a couple of different positions.
• 4:27
  Steve: And this is a great tactic to get used to because long-term we're developing bigger picture right, overarching.
• 4:35
  Steve: Short-term, we're slicing through a chunk of that long-term and we're using that in the real world.
• 4:43
  Steve: So we're not saying, okay, I can't play in any key, but the key of G no, that's not true.
• 4:47
  Steve: Or the key of E minor or whatever it might be, that's not true.
• 4:51
  Steve: It's just when it gets to that key that you're really developing that long-term key.
• 4:56
  Steve: That's where your superpower is.
• 4:58
  Steve: That's where you can just go crazy and do what you do right.
• 5:01
  Steve: And as you get more and more comfortable with that, you then begin another key.
• 5:06
  Steve: Maybe you begin the key of A minor or the key of G minor or whatever it might be, and now you start overarchingly developing that.
• 5:13
  Steve: But you still have the ability short-term to slice a piece of that out and make music with it.
• 5:20
  Steve: So that's talking in terms of scales.
• 5:23
  Steve: If we think long-term, short-term for songs, for instance, there might be a song that we want to learn how to play and we want to learn as much of it as accurate as possible.
• 5:32
  Steve: So long term, we're dissecting all of the elements of the song and what's needed and what struggles we're having, what techniques we need to develop.
• 5:40
  Steve: You know, any confusion in terms of the memorization, all of those kind of things.
• 5:45
  Steve: That's the long term, the.
• 5:47
  Steve: The short-term is there's some things I'm going to leave out because I have to play the song.
• 5:52
  Steve: Let's say you've been hired by a band to jam with them, or you're going to perform this weekend and you've got, you know, 30 songs.
• 6:00
  Steve: You have to learn by this Saturday and it's Tuesday.
• 6:04
  Steve: Okay, you can't learn every single part of every single thing necessarily by Saturday.
• 6:13
  Steve: So, long-term, you want to develop all the parts of these things.
• 6:15
  Steve: You want to dial it in as perfect as you can get, but the gig is this Saturday, no matter what.
• 6:20
  Steve: So, short-term, you're going to need to make some adjustments, you're going to need to make some edits, you're going to need to leave some things out.
• 6:29
  Steve: The solo might not be perfect, you might not learn every single lick, exactly right, you just got to get the job done so you can join this band and you can play with them and still have it sound good.
• 6:39
  Steve: And then, over the course of time, you're going to continue trying to work on the development of all of these different parts.
• 6:46
  Steve: So there's lots of different ways that you can look at long-term and short-term, in terms of your practice and setting up a practice routine for yourself.
• 6:53
  Steve: But it's very important to do that, because if you think of everything as being long-term and everything as being bigger picture, the problem is that when you get into situations where you need that information right now, oftentimes this thing will fail because you're thinking too big and so you want to find a way of being able to slice, to take a chunk of that out and be able to get the job done now.
• 7:18
  Steve: Right, it always reminds me of a book that's called Ready Fire Aim, not Ready Aim Fire, ready Fire Aim, which talks about how, like software developers and things like that, you, which talks about how, like software developers and things like that, you see it all the time on your phones and stuff.
• 7:30
  Steve: When updates come out, they have to get the product ready to a certain degree.
• 7:36
  Steve: But if they wait until it's perfect, they'd be waiting forever because it will never be perfect.
• 7:42
  Steve: So they get it to a point of of execution and then they release it and then they keep updating it, but it's already out there in the public doing its job.
• 7:54
  Steve: They just keep optimizing it as you go and if you think about what I'm talking about, it's kind of like that we have this bigger overarching thing that we're trying to develop to optimization to the best possible place.
• 8:06
  Steve: We can get it.
• 8:07
  Steve: But if that's all we focus on, we're never going to get there.
• 8:12
  Steve: We're never actually interacting in the real world doing these other things.
• 8:15
  Steve: We have to find a way of being able to slice a piece out and do the best we can with what we've got and then keep developing it from there.
• 8:23
  Steve: Sometimes, when you slice that piece, it shows you other sub elements that you might need to work on more.
• 8:30
  Steve: So you got this big picture, you got this little thing that you're doing.
• 8:33
  Steve: But then, because of the approach that you're taking from this little piece, you go oh so if I need to shortcut a little bit, I should learn how to do this, or I should think about doing this right.
• 8:44
  Steve: So all of a sudden it can lead to other thought processes that you have going oh so there's other ways to think about things.
• 8:51
  Steve: When I need something quick Because as musicians, that happens all the time you don't always have five years to prepare for a gig.
• 8:59
  Steve: You know, sometimes you're just at a club and somebody goes hey, get up and play with us.
• 9:02
  Steve: Okay, I don't know what we're playing, I don't know what key we're going to play in, I don't know what tempo it's at, I don't know anything.
• 9:08
  Steve: So I may have the skill sets of long-term, of bigger picture for this particular situation, but sometimes I might not.
• 9:17
  Steve: Sometimes I might have to go with short-term so and just just grab and go right.
• 9:21
  Steve: So that's something to think about a little bit when it comes to practice as well.