Free video lesson · Intermediate
How to Play a Fast Tumbao
In this lesson
In this Quick-Tip I'll show you a simple way to play your tumbao at faster tempos: taking some notes out of the common pattern, without sacrificing the feel or the groove. It's the first of two Quick-Tips in the Fast Tumbao portion of the Quick-Tip series, following Essential Tumbao Variations Part 5.
Key takeaways
- The changes are small: two rests in the first bar, one open tone instead of two at the end of the second, and some alternating sticking.
- Left-hand accented slaps, played on the inside of the drum or near the edge, help the groove swing.
- Speed develops gradually with consistent practice, so start slowly and lock up with the metronome.
In this video
Why Take Notes Out of the Tumbao?
One of the most common questions in the CongaChops community forum is how to play the tumbao at faster tempos. You can of course practice the common one-drum tumbao at blazing speeds, which is a great dexterity exercise. But at some point it might get a bit tedious when you want to play fast for longer periods of time.
There are a bunch of ways to go about it, but one of the simplest is to take out some notes from the common tumbao pattern, without sacrificing the feel or the groove. In the video I play it over 2-3 clave at a slow tempo first, then we analyze it and speed it up.
What Changes in the Pattern
There are three changes. First, a rest on the "and" of 1 and the "and" of 3 in the first bar, and one single open tone at the end of the second bar instead of two.
Second, the sticking changes a bit. Instead of the three consecutive left-hand strokes you'd normally play in the tumbao, you alternate your hands, right to left, in certain spots, which makes the pattern easier to pull off at a faster tempo.
Finally, there are some left-hand accented slaps, which you can play on the inside of the drum or out near the edge, like a traditional slap, to help the groove swing.
Staying Secure with the Pulse and the Clave
It's really important to be very secure with the pulse as you speed this up, and to be aware of which direction the clave is flowing in and how your pattern locks up.
Since this is a two-bar phrase, one bar of the pattern feels good with the 2-side of the clave, and the other bar feels good with the 3-side. In this particular pattern, playing that single right-hand open tone on beat 4 in the second bar really makes it clear you're on the 3-side. If you'd like to learn more about the different claves, how to count them and how they work, the clave lesson in our Conga Fundamentals course goes through it.
A Variation on the Second Bar
If it feels more comfortable, you can also leave an eighth-note rest on the downbeat of the second bar and come in with a tip on the "and" of 1.
Practice it with the real thing
Once the pattern feels comfortable, you can practice it at faster tempos with the CongaChops loop library: 100+ practice loops recorded with a real rhythm section. Members can play along with the whole library, plus a handpicked Spotify playlist for each course.
Speed Develops Gradually
Speed is something you develop gradually over time, with consistent practice. That's why it's worth taking the time to work on this pattern slowly at first, before you start to push the tempo.
How to Practice
- Clap the clave along as you listen, and be aware of which side of the clave each bar lands on.
- Work on the pattern slowly at first, until the sticking and the tones are comfortable.
- Do your best to stay relaxed and lock up with the metronome.
- Strive for a nice clear sound even as you speed up.
- The patterns are notated on screen in the video, but the goal is to internalize how they sound and feel, so you can play them without having to read them.
Quick Answers
Do I have to give up the fullness of the tumbao to play it faster?
Not necessarily. Taking out a few notes and adjusting the sticking makes the pattern easier to pull off at faster tempos, without sacrificing the feel or the groove.
How does this pattern line up with the clave?
It's a two-bar phrase: one bar feels good with the 2-side of the clave and the other with the 3-side. The single right-hand open tone on beat 4 in the second bar makes it clear you're on the 3-side.
Is there another way to play the second bar?
Yes. If it feels more comfortable, leave an eighth-note rest on the downbeat of the second bar and come in with a tip on the "and" of 1.
Go Deeper with CongaChops
This Quick-Tip is one small piece of what we cover on CongaChops, the online school where I teach congas step by step. Our foundation courses, Congas 101 and Conga Fundamentals, lay the groundwork for everything else.
- Congas, bongó and timbales
- 300+ step-by-step lessons
- 100+ practice loops
- Guided practice routines
- Exclusive guest artist masterclasses
- Members-only community forum
All Conga Quick-Tips
- How to Play Tumbao in Clave
- How to Play a Two-Drum Tumbao
- Tumbadora on the Two Side of the Clave
- Essential Tumbao Variations
- Essential Tumbao Variations Part 2
- Essential Tumbao Variations Part 3
- Essential Tumbao Variations Part 4
- Essential Tumbao Variations Part 5
- How to Play a Fast Tumbao (this lesson)
New to congas? Start here
Video Transcript
Now one of the most common questions that pops up in our Community Forum on Conga Chops, is how we can go about playing our tumbao pattern at faster tempos.
Now, of course we can simply practice playing our common one drum tumbao at blazing speeds, which is a great dexterity exercise. But at some point, it might get a bit tedious when we want to play at faster tempos for longer periods of time. Now, there's a bunch of ways that we can go about this, but one of the simplest solutions is just to take out some notes from our common Tumbao pattern, without sacrificing the feel or the groove.
So let's see what this fast tumbao pattern sounds like over a 2-3 Clave, at a slow tempo first, then we'll take a second to analyze it and speed it up. And feel free to clap the clave along as you listen, so you can get used to where the accents lie in respect to the clave.
So all we really did here, was place a rest on the "and" of one and the "and" of three in first bar, and play one single open tone at the end of the second bar, as opposed to two. Now, we also switched up the sticking a bit, from using three consecutive left hand strokes like we normally would in the tumbao, to alternating our hands right to left in certain spots, making the pattern easier to pull off at a faster tempo. And lastly, we stuck in some left hand accented slaps, which you can play on the inside of the drum, or out near the edge of the drum like a traditional slap, to help the groove swing. So let's check that out a bit faster.
So it's super important for us to be very secure with the pulse as we speed this up. And we also want to be aware of which direction the clave is flowing in, and how our pattern locks up. Now since this is a two bar phrase, there's one bar of the pattern that feels good and coincides with the two side of the clave, and one bar of the pattern that feels good and coincides with the three side of the clave. Now in this particular pattern, playing that single right hand open tone on beat four in the second bar, really makes it clear that we're on the three side.
Now, if you want to learn a bit more about the different claves, how to count them, and generally more about how they work, be sure to check out the Lesson on Clave from our Conga Fundamentals Course on CongaChops.com. So let's hear this pattern one more time, up to speed, in 2-3 Clave.
So that's a very simple way for us to play our tumbao pattern more comfortably at faster tempos. And you can also feel free to leave an eighth note rest on the down beat of the second bar, and come in with a tip in the "and" of one, if it feels more comfortable for you.
Now, remember that speed is something that we'll develop gradually over time, with consistent practice. So make sure you're taking the time to work on this pattern slowly at first, get comfortable with the sticking and the tones, do your best to stay relaxed and lock up with the metronome, and make sure you strive for a nice clear sound even as you speed up. Now although we'll always have the patterns we're learning notated here on screen, our ultimate goal is to internalize how things sound and feel, so we can play them without having to read them.
