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By gr3vans
practice 1000 hours and call me in the morning.
perhaps you could describe where you are at currently.
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By Waraba
Do you have a teacher available? Someone who's a professional and acknowledged as such by other professionals? The key is getting corrective feedback in the moment.
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By Waraba
You have to be able to keep your hand in the exact same position on the skin between slap and tone. The difference in hand shape should be felt, but not seen. Keep your elbows dropped at your sides
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By michi
Waraba wrote:You have to be able to keep your hand in the exact same position on the skin between slap and tone. The difference in hand shape should be felt, but not seen. Keep your elbows dropped at your sides
Good advice!

My rule of thumb: the fewer bits move, the better.

Take a video of yourself playing and watch it later. Chances are that you'll be appalled. The weak hand might be making strange movements, you may find that you are playing from the elbow or the shoulder, that one hand is consistently turning in for a slap, whatever…

Watch which bits move, and think about which bits have to move. Chances are that a lot fewer bits have to move than are actually moving.

Good technique is largely about economy: do only what's necessary, and no more.

By hazephase
Ok, thanks guy,

I am from Goa, India. I have a teacher that comes here from for 6 months and I learn with him. I am still slower then the rest of the group.
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By Waraba
Ignore your fingers. Feel the difference between slap and tone in the hollow of your palm and in the pads below your fingers. Start the impulse from your elbow and strike the tone and the slap with the pads just past the bearing edge.
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By Waraba
Wrists are involved but you have to watch out for Flappyhands
By djembeweaver
Waraba wrote:Wrists are involved but you have to watch out for Flappyhands
Every top djembefola I have played with uses their wrists more and more as the rhythm gets faster. Lack of mobility in the wrists is one of the main causes of lactic acid and when I am using my wrists properly I can play at almost any speed.

Of course you use your arms too and there is movement from the elbow but wrists are the key IMO

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By Waraba
Yes, of course. We are not in disagreement. I'm trying to say that if you do too much wrist you can't get the right sounds or volume.
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By boromir76
Try to learn tones and slaps with the similar movement, hand and finger positioning and play bass offcenter, closer to the rim, to minimize the distance between basses, tones and slaps. Chest and shoulders should be static during the playing. Use slight upward movement of elbows. They use as counterweight to maximize speed and power. One thing more that is most cruicial for developing speed: practice, practice and some more practice! :dundun:
By flamba
I am still wondering at which stage you are now, hazephase. From your earlier post, it seems that you have played for a year now. Do your mates play for roughly the same time or are they already more advanced?

What is the ambition if you tell that you're slower than the rest of the group? If it is rhythms that you cannot follow when the speed increases? Then my advice would be first of all to relax. Once you tense up, you hardly can move any more. And break down parts of the rhythm and do them over and over slow to fast but without creating tension in your body. Obviously, the less you move your hands from one note to the other, the faster you are in the end. Your hands will recognise the movements and it will become automatic and faster over time.

Or is it that others are faster in long, fast roulements? On this I would worry a bit less at that stage, although the same advice holds. Relaxation and wrists are even more important here as you increase mass when playing tensed. And following Sir Isaac ;) the bigger the mass the more force you need to change direction, which becomes a vicious circle and you break down quickly. Starting up your exercise with just slap roulements may be an idea to develop your technique and stamina, too.

One other interesting approach I read during my earlier piano studies: increasing speed from slow to fast can leave you in a speed lock, as just the movements you use when you are slow have their natural limits. So, the idea presented was to start reverse: infinite speed, i.e. play notes together. Then you develop a different movement by trying to 'slow down'. Sounds strange, but a really different approach in practice. This obviously does not solve all of it. Once you start playing scales you need to cross fingers (31 or 41) etc. For the djembe, you can just play two notes together and the almost infinitely fast form would be the ultra short flam. I never tried, but I wonder whether you could increase speed by approaching roulements via repeated flams? At least you learn a lot about flams :giggle: