It's About Time: Drumset Book & Online Audio

This book cuts through vague feedback like "don't rush" by giving students concrete exercises and audio references to calibrate their feel against. The inclusion of play-alongs from working professionals (Dennis Chambers, Ricky Lawson, Harvey Mason) means students aren't just reading about pocket and placement; they're hearing how masters actually execute these concepts in real time. Few resources tackle the mental and physical discipline required to internalize steady time this directly.

Working through these exercises is like learning to hear the space between the notes as much as the notes themselves. You'll discover that playing time isn't about being metronomically perfect; it's about understanding where to sit in relation to the pulse and making intentional choices about where that beat lives. The accompanying recordings pull you into conversation with some of the most trusted drummers in music.

Serious drummers who are ready to move past mechanics and confront the reality of their timekeeping; drummers who hear "you're rushing" or "you're dragging" and want concrete tools to fix it; students and educators looking for a method that bridges the gap between drum technique and actual musicianship.

• Start with the audio demonstrations before attempting the exercises on your own. Listening to the professionals first gives your ear a target to chase rather than working blind.
• Practice the behind-the-beat, on-top-of-the-beat, and middle-of-the-beat exercises with the recorded accompaniment running so you feel where you sit relative to the click and band.
• Record yourself doing these exercises and compare your recordings to the audio samples. The gap between what you think you're playing and what's actually happening becomes obvious only through playback.
• Focus on one concept (placement, space, fill timing) for a week rather than jumping between sections. Time internalization requires repetition and reflection.

Assign this to drummers in jazz ensembles and combo settings where feel directly impacts the quality of the band's sound. Use it as a diagnostic tool when a drummer consistently drags or rushes; the exercises pinpoint whether the issue is ear-training, physical tension, or conceptual misunderstanding. It also serves as independent study material for drummers preparing for auditions or seeking to audition for advanced ensembles.

• Distinguishing between playing on top of, in the middle of, and behind the beat
• Developing an internal clock independent of external click or metronome
• Understanding dynamics and placement of drum fills within song structure
• Listening skills that allow comparison of personal performance against professional standards
• Interpreting and internalizing the concept of "the space" in drumming
• Building consistency between intention and execution in timekeeping