A Revolution in Rhythm: Mastering Guitar Timing
“Rhythm is life. We are surrounded by rhythms in our heartbeat, our walking, our breathing. Yet for guitarists, mastering musical timing remains one of our greatest challenges.” – Pat Metheny
I’ve spent over 50 years playing guitar, many of them as a pro, and many years teaching. And I’ve seen over and over again that, if there’s one thing that separates great players from good ones, it’s their command of timing.
Here’s a shocking statistic: in a recent survey of music educators, 83% identified poor timing as the number one issue holding back intermediate guitarists. Even more surprising? Most players don’t even realize they have timing problems!
Think about it – you can play all the fancy scales and know every chord under the sun, but if your timing isn’t solid, none of it matters.
I learned this the hard way during my first few professional gigs, where my solos fell short of the mark playing with a live band. They just weren’t in the groove. And to make matters worse, as I concentrated on trying to fix that, I kept losing my place in the form of the song.
That humbling experience set me on a journey to truly understand timing, rhythm, and groove.
Let me be clear – this isn’t just another “practice with a metronome” article (though yes, you’ll definitely need one!).
We’re going to get deep into the psychology of rhythm, explore advanced concepts like subdivision and syncopation, and learn practical techniques for developing rock-solid timing. Whether you’re struggling with basic strumming patterns or working on complex jazz progressions, these insights will transform your playing.
The best part? Many of these concepts are surprisingly simple once you understand them. What’s more, the benefits extend far beyond just keeping time – good timing improves your confidence, makes you a better band member, and opens up entirely new ways of expressing yourself musically.
Ready to revolutionize your sense of time? Let’s get to work!
This comprehensive guide will cover everything from foundational concepts to advanced techniques, including:
- Understanding the basics of musical timing
- Essential metronome exercises for beginners
- Common timing problems and their solutions
- Advanced timing techniques for intermediate and advanced players
- Real-world performance strategies
So grab your guitar, fire up your metronome, and let’s get started on this rhythmic journey together!
Mastering Timing (The Foundation)
Let me share my journey with timing and rhythm, which has honestly been one of the most crucial elements of my guitar playing evolution.
Transitioning from Solo to Group Timing
I’ll never forget my first time trying to play with other musicians. Four of us got together in someone’s attic, and the other three had been playing together a while.
Talk about a wake-up call! I had spent countless hours practicing alone in my room, playing along with records and learning licks. I didn’t really think about timing – i didn’t realize how much the band on the record was providing solid timing and covering up all my weak points.
The moment we tried to play a simple tune, I realized my “bedroom timing” was a big problem!
Building Rhythm Exercises with a Metronome
Here’s the thing about timing – it’s like building a house. You need a rock-solid foundation before adding all the fancy stuff. Let me walk you through what I’ve learned over many years of playing guitar, teaching, and the exercises that actually work.
First things first: if you’re not using a metronome, you’re doing yourself a huge disservice. I get it – metronome practice isn’t exactly thrilling.
But here’s a trick that made it click for me: start with just quarter notes at 60 BPM. The diagram below shows 4 beats per bar, but doesn’t specify any particular note. Just pick any note and play it along with the metronome set top to 60bpm, as shown.
Seriously. It sounds ridiculously slow, but try to nail every single beat perfectly for two full minutes. You might be surprised how your mind starts to wander and you drift off time. I know I was shocked when I first recorded myself doing this simple exercise.
Recording Yourself to Identify Timing Issues
Speaking of recording – your phone’s voice memo app is about to become your best friend. I made the biggest breakthroughs in my timing when I started recording myself regularly.
Pro tip: record yourself playing a simple rhythm pattern, along with your metronome, for 1 minute, then listen back. Why record and listen to the playback? Well, when you’re concentrating on playing, there’s less mental resource available to listen. When you’re not playing, all your mental resources are free to listen, suddenly you’ll hear exactly where you’re rushing or dragging.
Using Backing Tracks Effectively
Let’s talk about backing tracks. They’re awesome practice tools, but they can also mask timing issues if you’re not careful. I learned this the hard way when I graduated from playing along with records to playing with real drummers. Records, backing tracks and drum machines will help cover up your timing mistakes – they’re oblivious to them. A real drummer won’t!
In fact, the difference between playing with drum machines and real drummers was one of my biggest learning curves. Drum machines are perfectly consistent – real drummers breathe, feel, and respond to the music. Understanding this dynamic is crucial for developing true musical timing.
That said, here’s my favorite backing track exercise: , learn the chords and play the chord progression along with the backing track, trying to play every chord exactly on the beat. Next try to play the progression little behind the beat. And finally, you guessed it, trying to play a little ahead of the beat.
As with any practice, it is best to record yourself. Like I said earlier, you can’t really hear in the moment, when much of your concentration is on what you’re playing. Listening back to a recording of your playing frees your senses to fully process what you’re hearing.
Note the effect of playing a little behind and a little ahead of the beat, and see how far behind and ahead you can play, without it feeling wrong, like you’re out of time.
Understanding Subdivisions and Groove
Understanding subdivisions was another game-changer for me. I used to think I just needed to hit the main beats, but man, was I missing out! Here’s a simple exercise I give my students: tap your foot on quarter notes while playing quarter notes, then switch to playing eighth notes, then switch to sixteenth notes. Keep the count/foot tap steady at 1-2-3-4 all the way through, and in sync with the metronome.
As with the diagram above, no notes are specified. Just pick any note and play the beats as shown in the upper staff, while tapping your foot 1-2-3-4, as shown on the lower staff.
If you’re struggling, slow it way down. I mean WAY down. I’ve seen students make huge improvements starting at just 40 BPM.
Once you have achieved some independence between your foot tap and your playing, you can try tapping on only one beat of the bar, say beat two or three, whilst maintaining the steadiness of your eighth note or sixteenth note playing.
Common Timing Pitfalls for Bedroom Guitarists
One of the biggest pitfalls I see with bedroom guitarists (and trust me, I was guilty of this too) is practicing without a clear sense of the ‘one’. You absolutely must feel where the first beat of each measure is.
Try this: record yourself playing a simple chord progression, and tap your foot (loudly enough to be heard and recorded) only on beat one of each measure. Listen back – are your foot taps perfectly aligned with your playing?
Sometimes, a player can keep the sense of the ‘one’ whilst playing a simple chord progression, but loses it when they start to play a solo. What happens here is that the player is so focused on the process of playing the notes, that the rest of the brain is ‘greyed out ‘ – there is no resource left to keep track of the ‘one’.
There is only one solution to this. It is very simple, but may well not be easy. You have to count 1- 2- 3 -4 out loud while you’re playing your solo. You may well find that you just cannot do this at first. There is not enough mental resource available to process the two independent tasks simultaneously. The answer is to simplify what you are playing until you can count along, out loud.
Then, gradually increase the complexity of what you are playing, ensuring that you never lose the count. After a surprisingly short time, you will find that you can play pretty much anything whilst maintaining the count out loud.
I’ve stressed ‘out loud’ a few times there. It’s the only way this works. If you count in your head, it is too easy to fool yourself. The extra effort of counting out loud not only makes the task a little harder, but also lets you know immediately when you’ve gone wrong.
The groove element is harder to teach because it’s somewhat intangible, but here’s what worked for me: listen to bass players, not other guitarists. I spent hours trying to lock in with bass lines from Motown records. There’s something about focusing on the bass that helps you internalize the pocket of a song.
Remember: timing isn’t just about being ‘right’ – it’s about being consistent and musical. Sometimes playing slightly behind the beat creates a cool, laid-back feel, while playing slightly ahead can drive the song forward. But you need to make these choices consciously, not because your timing is sloppy!
I still check myself with a metronome regularly, and I’m still focused and concentrated on my timing on the gig, constantly making sure I’m locking in with the rest of the band, and the bass and drums particularly.
It’s a journey, not a destination. But I can tell you this: nothing will improve your playing more than mastering your timing fundamentals.
Key points on guitar timing
- Start with metronome practice at 60 BPM using quarter notes
- Focus on feeling the “one” (first beat of each measure)
- Master basics before advancing to complex rhythms
- Practice Techniques
- Record yourself regularly using phone’s voice memo app
- Compare recordings against metronome
- Practice same riff at multiple tempos (slow/medium/fast)
- Use foot tapping while playing different subdivisions
- Study bass lines for better groove understanding
- Common Mistakes
- Overestimating timing ability from solo practice
- Relying too heavily on backing tracks
- Neglecting subdivision practice
- Losing track of measure beginnings
- Practicing without metronome
- Real drummers less forgiving than drum machines
- Group playing exposes timing weaknesses
- Playing behind/ahead of beat should be intentional
- Bass players often provide better rhythm reference than guitarists
- Progression Path
- Start with slow, simple exercises
- Graduate from backing tracks to live musicians
- Focus on consistency before style
- Regular metronome practice remains important at all levels
- Recommended Exercises
- Quarter notes at 60 BPM for 2 minutes straight
- Tapping foot on beat one while playing progressions
- Eighth/sixteenth note subdivisions with foot tapping
- Motown bass line following
Understanding the Basics of Musical Timing
Definition of Tempo, Rhythm, and Beat
Let me share what I’ve learned about musical timing fundamentals through years of teaching and performing. It’s a topic that seems simple on the surface but has so many important layers to understand.
When I first started teaching guitar, I noticed many students struggled with the difference between tempo and rhythm. Think of tempo as the speedometer of music – it’s how fast or slow the underlying pulse moves.
I remember one student who kept saying his rhythm was “off tempo” when really, he was playing the right speed but putting the accents in the wrong spots. That’s when I started breaking down these concepts more clearly.
Tempo is measured in BPM (beats per minute), and it’s like the heartbeat of a song. A relaxed pop song might be around 90 BPM, while an energetic rock tune could hit 140 BPM or higher. I always tell my students to start slower than they think they need to – there’s no prize for playing fast with poor timing!
Rhythm, on the other hand, is the pattern of how we organize sounds and silences within that tempo. It’s like the difference between walking and skipping – same speed, different pattern.
I learned this distinction the hard way when I was starting out. I could play individual notes in time pretty well, but the moment I tried a syncopated strumming pattern, everything fell apart.
The Relationship Between Strumming Patterns and Timing
Speaking of strumming patterns – this is where timing really starts to get interesting for guitarists. I’ve found that most beginners focus too much on their picking hand and not enough on their sense of pulse.
Here’s a real game-changer I discovered: try practicing your strumming patterns without the guitar first. Just use your hand in the air and count out loud. It sounds silly, but it works wonders. Any time you can reduce the complexity, and the number of things you are trying to do simultaneously, it will help you find clarity and learn quicker.
A strumming pattern isn’t just about down and up strokes – it’s about creating a consistent rhythmic foundation. I teach my students to think of their strumming hand as a drummer’s hi-hat, keeping a steady pulse even when they’re not hitting the strings.
Remember: good timing isn’t just about being “correct” – it’s about being musical. Sometimes the most powerful moments in music come from deliberately playing just behind or ahead of the beat. But you need to master strict timing before you can play with it artistically. It’s like learning the rules before you break them.
These fundamentals of musical timing are the building blocks of everything else you’ll do as a musician. Master them, and you’ll have a solid foundation for whatever style or technique you want to explore next
Why Timing Matters in Music
Let’s talk about why timing matters so much. I once played in a cover band where the bass player had good technical skills but struggled with timing.
No matter how perfectly he played his notes, something always felt “off” about our performance. That’s because timing isn’t just about playing the right notes at the right moment – it’s about creating a groove that others can lock into.
Common Timing Challenges for Beginners
The most common timing challenges I see with beginners might surprise you. It’s not usually about playing too fast or too slow – it’s about consistency. I had one student who would play in time for the first few measures, then gradually speed up without realizing it. This is super common, and it’s why I’m such a stickler for metronome practice.
Here’s something fascinating about timing that took me years to fully appreciate: our brains naturally want to rush or drag certain parts of a rhythm. When playing eighth notes, most people tend to rush the “and” counts. I notice this especially in strumming patterns – that up-strum often comes just a bit too early. Being aware of these natural tendencies is half the battle.
Key Points on Musical Timing Fundamentals:
- Core Concepts
- Tempo: Speed/pulse of music (measured in BPM)
- Rhythm: Pattern of sounds and silences within tempo
- Beat: Regular underlying pulse of music
- Strumming Patterns
- Act as rhythmic foundation like a drummer’s hi-hat
- Practice patterns in air before adding guitar
- Up-strums often rushed by beginners
- Need consistent motion even without string contact
- Common Beginner Challenges
- Confusing tempo vs. rhythm concepts
- Inconsistent speed (especially speeding up)
- Rushing the “and” counts in eighth notes
- Difficulty with syncopated patterns
- Struggling with sixteenth note subdivisions
- Teaching Methods
- Use natural rhythm analogies (walking, breathing)
- Practice counting syllables (“ta-ka-di-mi”)
- Connect rhythms to physical movement
- Start slower than comfortable
- Practice without instrument first
- Important Principles
- Consistency matters more than speed
- Master strict timing before artistic interpretation
- Focus on pulse before complex patterns
- Connect physical movement to rhythm
- Build proper foundation before advancing
- Musical Application
- Timing creates groove others can follow
- Some styles use intentional timing manipulation
- Technical skill can’t compensate for poor timing
- Proper timing essential for group playing
Mastering Performance Timing
Let me share my experiences transitioning from metronome practice to real-world performance timing. This journey has taught me so much about the nuances of playing with other musicians.
Understanding the Difference Between Metronome Practice and Live Timing
I remember my first major gig with a professional band. Despite hours of metronome practice, I struggled, trying to follow the subtle tempo changes, during our first rehearsal. That experience taught me that perfect metronome timing and real-world performance timing are two very different beasts.
Techniques for Locking in with the Drummer
One of the biggest lessons I’ve learned about performing with a drummer is that it helps to watch, rather than just listen. I spent years focusing solely on the audio cues until a veteran drummer showed me how much information comes from watching their body movement. Their shoulders, their stick height, even their breathing – it all telegraphs where the time is going.
Let’s talk about those dreaded moments when timing goes wrong – because they will happen. If the tempo sped up, I used to fight against it. Instead, I’ve learned to treat tempo changes like merging into traffic – you match the flow first, then gradually try to guide it back. Although, it must be said, it can be very difficult to ‘move’ a drummer to a different tempo.
Reading Other Musicians’ Subtle Tempo Changes
Reading other musicians requires developing what I call “tempo empathy.” You need to feel where they’re naturally trying to take the music. Some bass players, or drummers, for instance, naturally play slightly ahead of or behind the beat. Instead of seeing this as “wrong,” I’ve learned to adapt my playing to create a deeper pocket with them.
Developing Internal Rhythm Without Visual Cues
Here’s a fascinating thing about internal rhythm: it’s like having an internal GPS for music. You might find it helps you develop this by practicing with your eyes shut. Removing visual cues from the metronome forces your body to internalize the pulse. Starting with just 2 minutes of playing ‘blind’, and gradually increasing it, can help you maintain solid timing even when you can’t see your bandmates.
Practicing with Dynamic Tempo Changes
Here’s a technique I call the “rubber band method.” Start with a simple riff and imagine the tempo as a rubber band – stretching slower and snapping back to tempo, then pushing slightly faster and settling back. The goal isn’t to play out of time, but to develop control over subtle tempo variations.
Remember: great timing isn’t about being a human metronome. It’s about developing the sensitivity to maintain solid time while adapting to the organic changes that happen in live music. That balance of stability and flexibility is what separates good musicians from great ones.
Key Points on Performance Timing:
- Live vs. Practice Timing
- Metronome practice differs from real performance
- Visual cues as important as audio cues
- Watch drummer’s body language and movements
- Factor in emotional and crowd energy
- Working with Drummers
- Observe physical movements and breathing
- Understand style-specific timing references (ride cymbal, snare, etc.)
- Adapt to natural playing tendencies
- Watch for subtle tempo indicators
- Internal Rhythm Development
- Practice playing in darkness
- Build “tempo empathy” for other musicians
- Maintain timing without visual references
- Practice at varying tempos (-5, standard, +5 BPM)
- Practice Methods
- Record and play with varied tempos
- Practice dynamics without tempo changes
- Develop style-specific timing awareness
- Work on subtle tempo control
- Advanced Concepts
- Match tempo changes like merging traffic
- Connect dynamics with tempo control
- Understand style-specific timing references
- Develop controlled flexibility in timing
Fundamental Metronome Exercises for Beginners
Starting with Quarter Notes
When I first started with metronome exercises, I made the mistake of moving too quickly. Now I know that mastering quarter notes at a slow tempo is absolutely crucial. I start every new student at 60 BPM – yes, one beat per second.
It sounds ridiculously slow, but there’s a method to this madness – it’s actually harder to stay in time at slow trmpos and, conversely, easier to hear your timing errors.
At 60 BPM, you can really focus on syncing up precisely with the click. I have students practice this way: play a single note for each beat – exactly one beat.
As always, record yourself and play back the recording, listening carefully to how well your notes sync up with the metronome.
Progressive Speed Building Techniques
Let’s talk about progressive speed building. I learned this technique from a jazz instructor, and it’s transformed my teaching. Start at your comfortable tempo (let’s say 60 BPM), play perfectly for 4 measures, then increase by just 2 BPM. Here’s the crucial part – if you make any mistakes, go back down 2 BPM. This helps to build rock-solid timing at all tempos.k
Key Points on Beginner Metronome Exercises:
- Starting Basics
- Begin at 60 BPM with quarter notes
- Hold single chords for 4 clicks accuracy
- Focus on spaces between notes
- Master slow tempos before increasing speed
- Progressive Speed Building
- Increase by 2 BPM after 4 perfect measures
- Decrease by 4 BPM if mistakes occur
- Use small increments (62, 64, 66 BPM)
- Practice at multiple tempos in same session
- Advanced Practice Methods
- Switch between quarter and eighth notes
- Practice intentional ahead/behind placement
- Feel subdivisions even when not playing them
- Use recovery exercises for timing control
- Common Mistakes to Avoid
- Moving too quickly to faster tempos
- Practicing same pattern/tempo always
- Neglecting to count aloud
- Rushing through fundamentals
- Development Goals
- Build consistent timing foundation
- Develop subdivision awareness
- Create flexible tempo control
- Establish solid recovery
Common Timing Problems and Solutions
Rushing the Beat (Playing Too Fast)
The most common issue I see is rushing the beat. I had a student who would consistently speed up during complicated passages – turns out he was tensing up without realizing it. Physical tension often leads to rushing.
The solution? We started practicing deep breathing exercises while playing. Sounds strange, but it works! Try taking slow, deliberate breaths while playing a simple progression. Another game-changing approach for rushing is what I call the “half-tempo mindset.” When you feel yourself rushing, imagine the metronome clicks are on beats 2 and 4 instead of all four beats.
Dragging Behind the Beat
Dragging behind the beat is trickier to fix because it often comes from a different place – usually overthinking. People can drag because they are too focused on getting everything “perfect.”
One solution is to try practicing while walking around the room. It sounds weird, and it might feel a bit foreign at first, but give it a try, persevere, and it can be very helpful.
You can walk comfortably at tempos from about 70 bpm to 100 bpm. Somewhere above that, you’ll feel you have to walk at half tempo. And at some point below that, you’ll feel you have to walk at double the tempo.
Either way, the natural rhythm of walking can help you feel the pulse physically rather than thinking about it intellectually.
Inconsistent Strumming Patterns
Inconsistent strumming patterns are usually a sign that you haven’t internalized the rhythm. I had this problem myself – I could play a pattern correctly for a few measures, then it would start to drift.
The solution? Break it down into smaller chunks. Practice just one measure of a strumming pattern, and stop completely after that measure. Get that single measure perfect before trying to string multiple measures together.
How to Identify and Fix Timing Issues
We already talked about why recording yourself is absolutely crucial for identifying timing issues. When you can listen back without having to focus on what you are playing, the timing problems will jump out at you.
Even better, use audio software to line up your playing with a grid – you’ll see exactly where you’re pushing or pulling the tempo.
Sometimes timing issues come from muscle tension. Do a “tension check” every few minutes while practicing. Are your shoulders raised? Is your picking hand tight? Is your jaw clenched?
These physical tensions often translate into timing problems.
Remember: solid timing comes from the combination of physical comfort, mental calm, and lots of focused practice. Don’t get discouraged if it takes time to fix these issues – every guitarist goes through this process.
The key is identifying exactly where and why your timing is off, then applying the specific solution that addresses that particular problem.
These solutions work, but they require patience and consistent practice. Set aside at least 10 minutes of every practice session specifically for timing work. Your future self will thank you!
Key Points on Common Timing Problems and Solutions:
- Rushing the Beat
- eighth notes, then switch to sixteenth notessical tension
- Use deep breathing exercises while playing
- Apply “half-tempo mindset” (imaging clicks on 2 and 4)
- Regular tension checks (shoulders, hands, jaw)
- Dragging Issues
- Usually stems from overthinking
- Physical movement exercises (walking while playing)
- Inconsistent Strumming
- Break patterns into single-measure chunks
- Practice “ghost strumming” without strings
- Use pattern reset technique (emphasis on beat 1)
- Prevent pattern drift through vocal counting
- Diagnosis Methods
- Record yourself playing with metronome
- Compare recording to grid in audio software
- Monitor breathing patterns
- Check for muscle tension
- Chord Transition Problems
- Practice changes in isolation
- Focus on landing exactly on metronome clicks
- Remove strumming patterns initially
- Build up speed gradually
- Practice Techniques
- Minimum 10 minutes of focused timing work
- Use recording and playback analysis
- Practice transitions without patterns first
- Incorporate physical movement exercises
- Key Solutions
- Regular tension checks
- Break down complex patterns
- Record and analyze playing
- Focus on physical comfort and m
Advanced Timing Techniques and Exercises
Subdividing Beats
Understanding subdivisions is crucial for advanced timing. I teach my students to start with a simple exercise: set the metronome to 60 BPM, but instead of playing on the clicks, play the subdivisions. First eighth notes, then triplets, then sixteenth notes.
The real challenge? Switch between these subdivisions without stopping.
Here’s a powerful subdivision exercise: Start with quarter notes, then during each measure, subdivide one beat differently. For example, beat one might be straight quarters, beat two might be eighth notes, beat three triplets, and beat four sixteenth notes.
Syncopation Exercises
Syncopation was my personal nemesis until I discovered a systematic approach. Start with a simple pattern: strum on beat one, then the “and” of beat two, then beat three, then the “and” of four.
Once that’s solid, start displacing each hit by one sixteenth note. It’s like building a vocabulary of syncopated rhythms. For developing advanced syncopation, I use what I call the “displacement exercise.” Take a simple rhythm and shift it one sixteenth note later each time you play it.
Key Points on Advanced Timing Techniques:
- Subdivision Practice
- Alternate between eighth notes, triplets, sixteenths at 60 BPM
- Mix different subdivisions within single measures
- Practice subdivision transitions without stopping
- Focus on maintaining perfect time during changes
- Syncopation Development
- Start with basic displaced patterns (beat one + “and” of two, etc.)
- Use “displacement exercise” – shift patterns by sixteenth notes
- Build vocabulary of syncopated rhythms
- Employ ghost strums for complex patterns
- Advanced Exercises
- Practice intentional placement ahead/behind beat
- Combine different subdivisions in single measures
- Key Practice Principles
- Master slow tempos before increasing speed
- Maintain focus on main pulse during complexity
- Use physical movement for internalization
- Record and analyze regularly
- Development Goals
- Control note placement relative to beat
- Smooth transitions between subdivisions
- Comfortable navigation of odd meters
- Genre-appropriate timing feels
Mastering Your Musical Time: Taking the Next Steps
After going through the process of improving timing myself, and also helping others do the same thing, I can tell you that developing great timing isn’t just about natural talent – it’s about understanding the right concepts and putting in focused practice.
The journey from struggling with basic rhythms to confidently grooving with any band is one that every guitarist can make. Including you! It’s true that timing comes easier to some thsn others, but it is also something that can be learned, practiced and improved. It’s a skillset, and it can be acquired by anybody, with some effort and consistency.
Remember: timing is the foundation that everything else in music is built upon. You can learn all the theory in the world, but without solid rhythmic skills, you’ll always feel like something’s missing from your playing.
The good news? Every exercise and concept we’ve covered here has been battle-tested in real-world situations, from bedroom practice to professional performances.
The key takeaways from our exploration of guitar timing:
- Start with the fundamentals: master those basic metronome exercises before moving to complex rhythms
- Record yourself regularly – your ears are your best teachers
- Focus on feeling subdivisions, even when not playing them
- Develop your internal clock through consistent, mindful practice
- Work on recovery techniques for those inevitable timing hiccups
Here’s my challenge to you: commit to spending just 15 minutes of every practice session working specifically on timing. Set a timer, grab your metronome, and work through these exercises systematically. Start with the basic quarter-note exercises we discussed, then gradually incorporate more complex patterns as your confidence grows.
Remember that famous Victor Wooten quote? “Rhythm is the most important thing in music, but it’s the last thing we practice.” Let’s change that starting today!
The path to better timing isn’t always easy, but it’s absolutely worth the effort. Whether you’re dreaming of playing in a band, performing solo, or just jamming with friends, solid timing will transform your playing and boost your confidence as a musician.