How to Play Drums Faster Part-1: Improve Hand Speed

So you’ve got the basics down. You can hold a beat, play some fills, maybe even jam with a band. But when the tempo cranks up? Suddenly, your hands feel like they’re swimming in peanut butter, and your double kicks sound more like a dying lawnmower than a thunderstorm.

That’s where most drummers hit the wall. And if you’ve ever wondered how to play drums faster without turning into a sweaty mess of flams and missed hits, this section is for you. Let’s talk advanced hand techniques, foot speed hacks, and the psychology of real speed.

This article is divided into 2 parts. If you’re an intermediate player, continue reading, but if you’re a beginner, the second half of the article will be a better starting point. I recommend beginners to start with this section: For Beginner Drummers: Learning Drums Faster with Strong Fundamentals. 

Advanced Hand Techniques for Faster Playing

The Moeller Technique

Moeller is basically drumming’s cheat code. Instead of one hit per motion, you use a whipping arm movement to sneak two (sometimes three) hits into one fluid stroke. 

It allows you to create multiple strokes with a single fluid motion by utilizing rebound and a whip-like movement of the arm and wrist. Instead of one hit per arm swing, you learn to hit the drum, let the stick rebound (while controlling its height), add gentle finger taps, and then use an upward whip motion for another stroke. 

In essence, one down-and-up motion can produce three or more hits, dramatically boosting speed without extra effort. 

The key is a loose, whipping motion led by the elbow and a relaxed grip. With Moeller, drummers can play loud drum strokes at lower stick heights (around 10–12 inches) because the whip motion generates power efficiently. 

So start slowly: Practice an accented stroke followed by two lighter “tap” strokes as you raise the stick back up. Over time, this will feel natural and triple your note output per cycle

Push-Pull Technique

Push-pull is the drumming equivalent of double-dipping a chip. It is another method to get two hits from one motion – typically one on the downward push with the wrist, and another as you pull back with the fingers. 

Some drummers use push-pull for rolls and fast patterns, though it can be tricky to master. Essentially, you strike the drum with a wrist stroke (that’s the “push”), then immediately allow the fingers to snap the stick back into the head for a second stroke (the “pull”). 

It’s a bit like a rebound controlled by finger action. Push-pull can be effective for medium-volume double strokes or ride cymbal patterns. However, it requires fine finger control and isn’t universally loved by all drummers. 

(For example, one of my colleagues finds the open-close technique more efficient and admits he “can’t teach you push-pull... I don’t find it very effective”.) 

My advice: experiment with push-pull to see if it clicks for you, but don’t worry if it’s not your cup of tea – there are other techniques.

Open-Close (Finger Control)

The open-close method is my personal favorite for rapid hand speed, especially for double strokes. It’s sometimes called the “open-close roll” or even confused with push-pull, but here’s the idea: you use a two-part movement of the fingers to get two hits in quick succession. 

Think of it as opening your hand (letting the fingers extend and the stick drop for the first stroke) and then quickly closing your hand (bringing the fingers back in to snap the stick for the second stroke). 

By alternating an open and a close, you leverage two muscle groups – wrist/hand for the first motion and finger squeeze for the second – which makes your strokes highly efficient and fast. The open-close technique lets you play clean, even double strokes that have clarity and equal volume, unlike the old “bounce double” many learn in school band. 

For example, using open-close, a roll on the snare will sound crisp: each stroke is distinct, rather than a weak buzz on the second hit. 

Practice this slowly: hold the stick with a relaxed grip (try not to choke it – keep that gap between thumb and index finger to avoid tension), drop the stick by opening your fingers, then immediately squeeze (not too hard) to get a second tap. 

It feels like your hand is talking: opening to say “lah” and closing to say “dee” in a fast “lah-dee, lah-dee” rhythm. Over time, your fingers strengthen, and you can do this rapidly, useful for doubles in rudiments like paradiddles and drum rolls.

The Golden Rule: Stay Loose and Use Rebound

No matter which technique you use, the common thread is relaxation and rebound. Playing the drums fast is impossible if you’re tense. One of the biggest speed killers is excess tension in the hands, wrists, or arms. I constantly remind my students: loosen your grip and shoulders! 

For instance, never squeeze the stick too tightly, and maintain a small gap in your fulcrum (the thumb-index contact point) so the stick can rebound freely. 

If you feel your forearms burning or your motion getting choppy at higher speeds, stop and shake out the tension. Slow down, reset your grip, and try again. 

It’s better to practice 5 minutes of relaxed, controlled strokes than 30 minutes of strained, sloppy speed. Over time, relaxed technique becomes second nature, and your speed will increase as a result of smoother motion.

Pro Tip: Make friends with your practice pad and your drum kit. Drill these hand techniques on a pad to focus on mechanics, but also play on drums regularly to translate that speed to the full kit. 

I’ve seen drummers who were lightning-fast on a pad struggle when they actually play music on drums, because moving around the kit and controlling bounce on real drumheads is a different feel. 

So, alternate your practice: pad work for precision, then apply it to the snare, toms, and cymbals so your hands adjust to real drumming conditions.

If you want to learn more techniques like these, book a drum session with us Angeles Academy of Music, and learn from experts who guide you every step of the way, helping you achieve your musical goals. Sign up now.

Contributed by: Jonathan B., Senior Percussion Instructor at Angeles Academy of Music (Bachelors of Music, Musicians Institute; Associate of Arts, Suffolk College.)