How do you work on Timing?

Funny you should start this topic. I have the same thing myself. Thing is, the only time it shows up is when I do covers by myself. I seem to be rushing. When with a band, I was always spot on, both live and recording. Only way I manage it is to just relax and go with the flow, really. Just listen to the song, don't worry about what to play next. Sometimes I have to consciously think about it and step off the throttle but once I do relax it goes along fine.

 

I would say reading and counting rhythms. This brings awareness of subdivision and the placement of notes within the measure. This book will cover everything you need in 4/4:

 

I like this and the subsequent videos on time and rhythm that Rich put out:

 

I don't. It just comes natural for me. I don't count either.

But, if I were going to work on timing, I'd get a beat buddy pedal. Because, I can't hear a metronome.

 

For me it's working with others and learning how to focus and listen deeply. Recording myself is very helpful. I have the same problem; I tend to rush a bit. When I record I have to focus intensely on keeping perfect time, and that means listening closely to the click and/or the other instrumentation. The more I do it, the better I get, but it all comes down to focus and something like a whole body awareness of exactly where I am in the music at all times.

That's recording, which assumes a click and a need for precision. When I am playing along with others live I also have to stay focused because, in live situations, tempos fluctuate. This is also true when I'm playing along to recorded music that isn't tempo perfect.

In these cases I have learned that I have to listen to everything in order to always know where the next "one" is going to be. Sometimes you get your best cues from the vocals and leads, believe it or not. I'm working with my drummer husband on this issue right now; he tends to go off when he's playing along to recorded music and I encourage him to listen to the singing in order to reorient himself back to one at every measure; often the vocal is the one thing that rises above the mix to be clearly audible.

If you learn to reorient at every measure based on what's happening with the other musicians, you will find it easier to stay in time with them.

 

I use a metronome or a simple drum track and record myself playing. I listen back to make sure that I am on the beat. Then I focus on playing just behind the beat, and record and listen to that as well. Recording really allows me to hear clearly if I am doing what I am intending. I usually set the metronome to about 70-80 playing as if it were hitting the 2 and 4. This leaves me the responsibility of hitting the one on my own. It works for me

 

Jam with a super badass drummer all the time and create your own pocket to his drums and in no time the timing of the drummer will wear off on you. That is what happened to me 25 years ago and I'm still a rock you could set a clock to.

 

An exercise I saw somewhere, maybe actually in an offline book... playing quarter notes at super duper slow tempos, like 30 to 40 bpm, and nothing else, just timing maybe notes of a scale to it, or just one note... that is an infuriatingly tough thing to do at first. If you have a metronome that does 16th and 8th note pulses, start with those, then turn them off as you get more comfortable with subdividing internally.

You can use that also practice hitting on, before, and after the beat. But that really comes after you get good at hitting right on the beat. Take your time, it'll be worth spending it on building the internal clock up.

 

I take a walk. And count songs in my head against my Walk's "meter". Everyone walks in a tempo. And, everyone adjusts that tempo. So? Walk. Use cracks in a sidewalk as bar lines. Put a One after each "Bar Line". Then, count songs in your head as you walk.

I walked a long way to school when I was a kid. Furra lotta years. That's how I entertained myself on the way. And still do today.

 

learn to play drums if you can or have the space to play. Then play with recordings, you dont need to play exactly everything, maybe just the hi-hat or the ride. Its a great way to internalize not only the tempo, but also the feel and groove of professional drummers. I feel its better that way because music is not exact like a metronome.

 

This may sound obvious but the reason that timing is important, is because you are playing with others. Therefore, it makes sense that the best way to improve your timing is to play with others.

Many of us grew up in a school band environment, where playing with others was the daily norm. If you aren't playing in an ensemble, but working and studying on your own, the key is to start playing with others as soon as possible. Only time and experience doing this will solidify your timing.

Timing is a contract, between all the players in the ensemble, and is subject to the ebb and flow of human ability to maintain tempo. Listening and adjusting is paramount.

 

That reminds me of my younger days as a club cyclist. I used to run music in my head to maintain cadence. Different tunes for different terrain. Even a slow waltz (~90) can work well on a long climb.

 

Even when you aren't playing, to!low/count the beat, so in your head you are always in time.

 

When playing with another human I think timing is better because both people are adjusting. When playing with a track or click we are the only ones who can adjust.

 

I did a lot of recording with drum back tracks for fun. The drums were all perfectly in time so I had to learn how to play in perfect time.
The best part of learning timing this way was that I could put the bass track next to the drum track and actually see where I was off time.

 

Practice at speeds that are uncomfortably slow.

Slow enough that you can't anticipate and automatically play the note.
Slow enough that you can hear in real time if you were before, on, or after the beat.

With enough slow practice, speed and timing takes care of itself.

 

Agree. Playing slowly is a very different kind of challenge to going flat out.

 

Slow enough that you can go out & get a sandwich between clicks of the metronome.
Play something you are VERY familiar with. Major scales, chromatic scales, single notes, or whatever.
Then 3 or 4 days later, speed up the metronome by one click and play the same thing.
Repeat.