Fairly frequently, I am asked how to improve one’s internal clock. Here are some of my thoughts:
Developing a strong internal clock is something that I continue to work on every day. I use a metronome/click more often than not. I attempt to keep the volume of the click fairly low, and then try to “bury” the click. Try a range of tempos. It seems a bit easier for me to play medium to medium fast tempos without too much variation in my execution. The slower tempos still kick my butt. If you have a drum machine, you could program something more musical and/or complex than a click, but be wary of letting that carry you too much. You still want to be stating the time as much as possible (which is difficult with a click).
On the drum set, I’ll play something somewhat basic — bass drum on 1 & 3 and snare on 2 & 4. If I’m right with the click, it will seemingly disappear. This can be disconcerting at first; however, I have gotten somewhat used to it. Slowly, I will increase the level of difficultly with different patterns with the same intent. Once the material becomes more complex/syncopated, then the click will become more noticeable. That’s one reason I keep it a low volume. This also works with the rudiments. I like adding feet ostinatos while working through Stick Control, e.g. (Thank you, Alan Dawson.)
While I’m doing all of the above, I record myself (including the click). It’s important to go back and listen while I’m not playing to really see/hear what was happening (or not happening). It’s very hard to play and critique myself at the same time. The recordings don’t lie. It will show me what I need to practice. E.g., do I tend to rush (or slow down) while playing a drum fill? If so, then I want to work on that one specific fill (and it’s many variations) for a while. Then, go on to other fills. Do I tend to rush or slow down going from the verse to the chorus? I practice going from groove A to groove B, and then back to groove A. Also, try practicing with a metronome muted on the downbeat, e.g. Or, muted on 1 & 3 — only playing the 2 & 4. This is invaluable, and has helped me tremendously.
In addition, I play along with recordings with drummers who have great time (Steve Gadd, and many others). I want my time to be good; however, I mainly want it to feel great. Usually, if it’s feeling good, then the time is good. That’s not always the case, but the feel is paramount. I’ll play along with Miles Davis and listen to Jimmy Cobb’s cymbal beat or Philly Joe’s cymbal, e.g. I pay close attention to the bassist — I want my feel/groove to line up with that. Again, there are exceptions to this — Tony Williams played way on top of the beat and Ron Carter played perhaps a bit behind. But it worked. Different styles require different things, so learning the style being played is key.
And, then… practice without a click. Again, record yourself and listen back. You could have the click on for a little bit in order to establish where you started, turn it off, continue to play, and then turn it back on. This is immensely helpful to sort out your tendencies. We all have them.
Be patient and nice to yourself during this process, and have fun!
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