The Art & Science of Symbiosis
"In order to develop and function as creative and interactive musicians - in fact in any profession requiring co-dependent performance - learning the nature and the art of symbiosis is of fundamental importance."
Richie Robinson 2003
Theories and techniques can be more effectively employed when an understanding of symbiosis is already in place. Further, greater rewards can be realised immediately and long-term for the performer, the co-performers, and the audience.
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IN NATURE, symbiotic relationships are necessary for survival. Picture the parasite eating bird that feeds from an ox. The ox provides a safe haven and food for the bird, ensuring its survival - and the bird removes life-threatening parasites from the ox ensuring the oxen's survival in return. Each looks after the other, and their actions ensure their own long-term comfort, health, and chances of survival.
Similar stories abound in the wild, including one where a small fish cleans the mouth & teeth of a much larger fish and has no fear of being eaten. The big fish knows that the short-term gain of swallowing the little fish places its long term survival in jeopardy.
ON THE OTHER HAND, consider the parasites on the ox. They have a full-time job. They benefit both themselves and the bird, but their only real contribution to a symbiotic relationship is via their removal. If the parasites could not be removed, it would not only kill the ox, but it would starve the bird. Further, once the ox is dead and immobile, the parasites have much less chance of moving onto another ox.
How do we align ourselves with these comparisons? Are our musical actions of a symbiotic nature? If they help the musicians we are working with thrive and succeed, then those musicians have all the right reasons to keep us working. We can help them do better on stage, in the studio, and in the industry. Approaching your playing this way will practically guarantee that you get more work.
There is plenty of room for excellent musicians in the industry, and some of the best musicians are not necessarily those that take the front line onstage and pull the heads (put bums on seats). Some of the best musicians are there in supporting roles, constantly looking for ways to develop their performance so that they can help the talents of those around them to really shine.
WHAT WE GIVE OUT COMES BACK TO US. There is nothing quite as good as being surrounded by people who believe in us and want us to shine. After all, this is how you would be in your day-to-day life in order to build meaningful and lasting relationships.
Show the musicians around you that you believe in what they can do. Give them the musical support that they need to be and do their very best. Give them the talk in the industry that they deserve as hard-working and talented people. Show the audience that you believe in your co-performers with your attitude and actions.
From there, every musical step you take will add to the positive cycle you're creating. You can make the most of every new thing you learn. You can use everything you know to help yourself by helping others in the industry. As a result, you'll build a more creative, satisfying, and rewarding career.
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PLAY TO FEATURE YOUR CO-PERFORMERS. Always be aware of the feature of the moment, and play to enhance that feature. In the tutorials of this series, you will learn how to feature the playing of those around you and what to expect in return.
Many musicians feel that they need to feature they're playing us much as possible at every performance. Unless the show is about one person, in particular, this can, at best, end up being intrusive on the other players in the group. Featuring more than one player requires co-operation for the airspace. At worst, people that constantly play to feature themselves can quickly earn the Australian title, "a pain in the arse".
It will soon become evident to those players that do have a symbiotic approach, whether other players have the same attitude or not. For less experienced players tho, looking around, keeping up the player-to-player eye contact is important in sorting some of this out on the gig. More experienced players don't look around much, as they tend to use their ears for this. They aurally "read the signs" held up by other experienced players as to where the song is going in that moment. These are skills that are available to all of us with good ear training, and an understanding of what musicians are typically trying to do within a given performance.
Music is a means of communication, and often, the way a player approaches music is the same way that they will approach a conversation. The fundamental of how they think about themselves and others becomes evident in sharing airspace and ideas both in conversation and in music. So, one way to practice becoming a more symbiotic player is to consider how much more you can listen to, and take an interest in others. It's an attitude thing, and I can tell you from experience, it works!
Richie Robinson
