I'm still without a taiko group at the moment, so when I found a cheap plane ticket, I thought I'd jump over to Boston to practice with Odaiko New England. Anything for a chance to hit drums! Actually, I got to know 3 of the members of ONE during STI this year, Joy, Beth and Tanya. The leader of ONE, Mark H. Rooney actually lived and studied taiko in Wakayama with some of the same people I did. It was great to meet the rest of the group, too! So, besides good taiko in Boston, I also have good friends.
Practice last night was very fun. Mark actually set aside a small amount of practice for those of us who attended STI to re-visit some of what we learned and give a small demonstration. I think I could use some more practice pulling the song apart and applying the 1234 Drill (explained in the Extension to last week's drill). The great thing about timing drills is that they shouldn't ever get old--we can always get better at timing.
Shoji Kameda talked about understanding rhythms at STI and I'll post the video below as today's drill. Have you ever heard yourself say something like "I can only play it if I think of it in 3 even though it's played in 4"? I think moments like that are exciting because it means the chance to try to get your brain to understand a rhythm or pattern in a new way. This drill helps with just that.
Focus: Timing, Counting
A place for useful tips, drills, and information about taiko.
Saturday, August 29, 2009
Friday, August 21, 2009
Taiko Drill Part 46, Understanding Rhythms
Counting while playing taiko is not a strength of mine.
During Shippu Uchi Daiko's warm-up we often do a set of speedy paraddidles and each person solos over the pattern. Then it repeats and the solo passes to the next person. I love the challenge of a solo, but I can only seem to keep it together if I let my whole mind and body get lost in the rhythms, kind of like dancing. Unfortunately, if I don't count while I'm soloing, I inevitably overlap with the next person's solo or get stuck with an odd number of dead air beats because I didn't complete the specified number of measures.
I grew up playing the flute and singing and can read sheet music. But, I also grew up dancing which is where I was taught to understand rhythm by listening and feeling, in a less precise or technical way.
How one understands rhythm is affected heavily by the way the teacher chooses to or can explain it to them. What's the best way to understand rhythm? I say, ask lots of people how they understand it! The wider perspective you have, the deeper you can truly go with it. Reading sheet music made me a better taiko player, taiko made me a better tap dancer, and dancing helped me to understand sheet music in new ways.
So, here's today's drill from Summer Taiko Institute 2009 with On Ensemble!
Focus: Timing, Counting
The drill continues on to 2, and then 3 hits for every count. If you really want it, I can probably dig up the video somewhere--email me!
Extension:
The next step with this drill is to apply it to the songs you're practicing. Take the time to go through beat, by beat, and break down the rhythms so you can really understand when the hits should occur. Then, play it at 25% the normal speed to practice counting. Try this with your whole group and notice the difference in timing!
During Shippu Uchi Daiko's warm-up we often do a set of speedy paraddidles and each person solos over the pattern. Then it repeats and the solo passes to the next person. I love the challenge of a solo, but I can only seem to keep it together if I let my whole mind and body get lost in the rhythms, kind of like dancing. Unfortunately, if I don't count while I'm soloing, I inevitably overlap with the next person's solo or get stuck with an odd number of dead air beats because I didn't complete the specified number of measures.
I grew up playing the flute and singing and can read sheet music. But, I also grew up dancing which is where I was taught to understand rhythm by listening and feeling, in a less precise or technical way.
How one understands rhythm is affected heavily by the way the teacher chooses to or can explain it to them. What's the best way to understand rhythm? I say, ask lots of people how they understand it! The wider perspective you have, the deeper you can truly go with it. Reading sheet music made me a better taiko player, taiko made me a better tap dancer, and dancing helped me to understand sheet music in new ways.
So, here's today's drill from Summer Taiko Institute 2009 with On Ensemble!
Focus: Timing, Counting
The drill continues on to 2, and then 3 hits for every count. If you really want it, I can probably dig up the video somewhere--email me!
Extension:
The next step with this drill is to apply it to the songs you're practicing. Take the time to go through beat, by beat, and break down the rhythms so you can really understand when the hits should occur. Then, play it at 25% the normal speed to practice counting. Try this with your whole group and notice the difference in timing!
Tuesday, August 18, 2009
Kris' Practice Philosophy
Last week at the Summer Taiko Institute in LA, Kris shared with us some of his thoughts on practicing taiko. He was also nice enough to let me post the video here.
Be aware that he's using specific examples from the song they taught during the workshops, so for those of you who weren't there, when he talks about "zu ku", he's referring to two small sounds created by leaving the stick to vibrate at the head of the drum.
Also, when the airplane flies overhead (sorry!), he's talking about practicing with a mirror.
After you watch, if you'd like to read more about his thoughts, you can visit his essay called Thoughts on Practice.
On a side note, a group of people from all over will be doing Kris' 30 Days to Better Shime starting later this week. Contact Kris directly through the On Ensemble website to get on the email list for this free program!
Be aware that he's using specific examples from the song they taught during the workshops, so for those of you who weren't there, when he talks about "zu ku", he's referring to two small sounds created by leaving the stick to vibrate at the head of the drum.
Also, when the airplane flies overhead (sorry!), he's talking about practicing with a mirror.
After you watch, if you'd like to read more about his thoughts, you can visit his essay called Thoughts on Practice.
On a side note, a group of people from all over will be doing Kris' 30 Days to Better Shime starting later this week. Contact Kris directly through the On Ensemble website to get on the email list for this free program!
Saturday, August 15, 2009
Taiko Drill Part 45 TAIKO SET DO KON KO
I was a little torn about what to do this week... I have one more taiko set drill I wanted to share, but there's so much to think about as a result of my time in LA! I decided to jump back to taiko set for today, but be sure to keep checking for more on my STI and NATC experiences.
Focus: Form, Timing
Watch For:
1. Movement is initiated at the core, not the arms (do I sound like a broken record?)
2. Try to anticipate the next step as you're playing this drill. Know where your stick will hit before it's time to strike.
Today's pattern is simple as can be:
do kon ko
(red is right hand)
If you want to count this in 4, the beats fall on 1, 2, 4. There is a rest on beat 3.
What we're going to do to tease your brain a little is the first 8 times you play "do kon ko", alternate the right hand between the right and left drums. The left hand plays always on the left drum. The next 8 times, the right hand stays on the right drum and the left alternates: "kon" is on the right drum, and "ko" is on the left drum. Repeat that from the beginning, totalling 32.
Play the drill again, but only 4 times each and repeat once to total 16. Finish up with just 2 times each, repeating 3 times to total 16. Start over again from the beginning.
Remember, it doesn't do anyone good to set a metronome faster than he/she can play something well. Be thoughtful about your metronome tempo and your comfort at higher speeds will increase with regular practice.
Here's the video (if you want to match up with me, put your high-pitched drum on the left this week):
Extension:
My suggestion with this drill is to take it really slow at the beginning. Notice if you are consistently hitting the same place on each drum--try to notice discprepancies by listening as well as watching. Do you like how it sounds when the two tones are completely different? Play around to see what you like best, make sure you still look good while you're doing it, and then think about increasing speed.
If you're having trouble with where to place your eyes, try looking down to the floor, between the two drums. This way you can see both drum heads out of the periphery.
Focus: Form, Timing
Watch For:
1. Movement is initiated at the core, not the arms (do I sound like a broken record?)
2. Try to anticipate the next step as you're playing this drill. Know where your stick will hit before it's time to strike.
Today's pattern is simple as can be:
do kon ko
(red is right hand)
If you want to count this in 4, the beats fall on 1, 2, 4. There is a rest on beat 3.
What we're going to do to tease your brain a little is the first 8 times you play "do kon ko", alternate the right hand between the right and left drums. The left hand plays always on the left drum. The next 8 times, the right hand stays on the right drum and the left alternates: "kon" is on the right drum, and "ko" is on the left drum. Repeat that from the beginning, totalling 32.
Play the drill again, but only 4 times each and repeat once to total 16. Finish up with just 2 times each, repeating 3 times to total 16. Start over again from the beginning.
Remember, it doesn't do anyone good to set a metronome faster than he/she can play something well. Be thoughtful about your metronome tempo and your comfort at higher speeds will increase with regular practice.
Here's the video (if you want to match up with me, put your high-pitched drum on the left this week):
Extension:
My suggestion with this drill is to take it really slow at the beginning. Notice if you are consistently hitting the same place on each drum--try to notice discprepancies by listening as well as watching. Do you like how it sounds when the two tones are completely different? Play around to see what you like best, make sure you still look good while you're doing it, and then think about increasing speed.
If you're having trouble with where to place your eyes, try looking down to the floor, between the two drums. This way you can see both drum heads out of the periphery.
Wednesday, August 12, 2009
Online Taiko Community
I was not present at the North American Taiko Conference Leadership Forum, but I heard from those who attended that one recurring theme in the small group discussions was an online forum for taiko players.
Eventually I caught Alan Okada (Soh Daiko) when he wasn't already chatting with someone, and let him know I was interested in being involved with the exploration of creating an online taiko community. He brought up some very basic, very important questions that should be considered before jumping into anything.
The idea of an online forum has been tried in the past, but gradually trickled out. There are a few forums out there--I know the collegiate groups have one, and there is a UK taiko forum as well. But, a forum can only exist if participants are active. How do we create an atmosphere that is inviting so it can live, thrive, and be useful?
On the other hand, someone mentioned to me that perhaps the great thing about NATC is the space that exists between its recurrence. Every 2 years hundreds of taiko players get together and have an immediate connection through the drums we all love. Would having an online community diminish the effect of this connection?
Certainly there are many opinions on this topic, and many more questions to ask. So, I wanted to start by asking your opinion.
Alan wondered if my blog was active with comments... To be honest, it's not very active here at all. If you feel this is important, please prove me wrong and leave your opinion in the comments below!
1. Are you interested in participating in an online taiko forum? If so, please tell me why and what you would hope to get from it or give to it.
2. Do you feel that having an online forum could have negative effects on the taiko community? Please explain.
Eventually I caught Alan Okada (Soh Daiko) when he wasn't already chatting with someone, and let him know I was interested in being involved with the exploration of creating an online taiko community. He brought up some very basic, very important questions that should be considered before jumping into anything.
The idea of an online forum has been tried in the past, but gradually trickled out. There are a few forums out there--I know the collegiate groups have one, and there is a UK taiko forum as well. But, a forum can only exist if participants are active. How do we create an atmosphere that is inviting so it can live, thrive, and be useful?
On the other hand, someone mentioned to me that perhaps the great thing about NATC is the space that exists between its recurrence. Every 2 years hundreds of taiko players get together and have an immediate connection through the drums we all love. Would having an online community diminish the effect of this connection?
Certainly there are many opinions on this topic, and many more questions to ask. So, I wanted to start by asking your opinion.
Alan wondered if my blog was active with comments... To be honest, it's not very active here at all. If you feel this is important, please prove me wrong and leave your opinion in the comments below!
1. Are you interested in participating in an online taiko forum? If so, please tell me why and what you would hope to get from it or give to it.
2. Do you feel that having an online forum could have negative effects on the taiko community? Please explain.
Monday, August 10, 2009
Taiko Ten NATC 2009
It's become tradition to have 10 taiko groups from around North America perform for 10 minutes in a concert called Taiko Ten during the North American Taiko Conference (NATC). This year's concert was really fun to watch because each group's style was its own. The concert is free and open to the public.
I didn't get clips of every group, but these should give you a nice taste:
I'll be posting a few more thoughts on NATC next week. Back to the normal drill sessions next Friday!
I didn't get clips of every group, but these should give you a nice taste:
I'll be posting a few more thoughts on NATC next week. Back to the normal drill sessions next Friday!
Master Class with Tanaka Sensei
Back in August, I had the opportunity to take Tanaka Sensei's Master Class. This was my first time to really have the chance to talk with him, and despite everyone's warnings of his strict demeanor, he was quite relaxed and humorous.
The class began with a 20-minute standing meditation outside in the garden, facing the sun to clear our minds and prepare our bodies for the practice of taiko. After sharing a few useful drills with us, he called 4 of his students up to demonstrate a group drill.
Without any explanation, he asked for 4 volunteers to complete the same drill on their own. A lot of people picked up on the patterns fine, but there were timing issues and we can't all do a new drill perfectly the first time, certainly. All of this proved his point: It's important to communicate with others while you're playing. Even if you've never played with someone before, look at them, listen to them, make eye contact with them, play together.
Here's a video of the drill and Tanaka Sensei's comments (and a little improv!)afterwards.
The class began with a 20-minute standing meditation outside in the garden, facing the sun to clear our minds and prepare our bodies for the practice of taiko. After sharing a few useful drills with us, he called 4 of his students up to demonstrate a group drill.
Without any explanation, he asked for 4 volunteers to complete the same drill on their own. A lot of people picked up on the patterns fine, but there were timing issues and we can't all do a new drill perfectly the first time, certainly. All of this proved his point: It's important to communicate with others while you're playing. Even if you've never played with someone before, look at them, listen to them, make eye contact with them, play together.
Here's a video of the drill and Tanaka Sensei's comments (and a little improv!)afterwards.
Sunday, August 9, 2009
A Tribute to Daihachi Oguchi
Yesterday a tribute was held for Oguchi Sensei, who died last year after being hit by a car at age 84. Daihachi Oguchi is credited for taking the traditional taiko and bringing it to the modern music scene which started the spread of kumi-daiko around Japan and the world.
The following 3 videos are from the tribute. The first 2 are Tanaka Sensei, from San Francisco Taiko Dojo, sharing a few memories. In the final video, members of taiko groups from all around North America gather to perform Hiryu Sandan Gaeshi. This song was written by Daihachi Oguchi.
The following 3 videos are from the tribute. The first 2 are Tanaka Sensei, from San Francisco Taiko Dojo, sharing a few memories. In the final video, members of taiko groups from all around North America gather to perform Hiryu Sandan Gaeshi. This song was written by Daihachi Oguchi.
Saturday, August 8, 2009
NATC 2009 Opening Reception
The great thing about NATC is that every moment is filled with running into people you haven't seen in ages, or meeting new friends. The weekend kicked off last night with a reception and, as is an NATC tradition, ended with a bit of jamming.
This year they decided to post up signs to represent the number of years of taiko experience. For example, the first sign was 0-5 Years of experience. If that's you, then you jumped up on a drum and improvised with others within that category. The process continued in increasing incremements until reaching the final group.
Here's a little bit of the ending below. Unfortunately, I didn't capture the wonderful women of taiko, but I'll get some from someone at some point and post it.
These video clips were taken by Marinda Chen of Seattle Kokon Taiko . They're short, but if you watch them multiple times, you'll always find a new person's energy to enjoy!
Seiichi Tanaka Sensei
Kenny Endo
Russel Baba
Now I'm off to the Opening Session, lunchtime Taiko Games demo, Taiko Marketplace, a workshop with Adam Weiner, Special Tribute to Daihachi Oguchi, and the free Taiko Ten Concert tonight! More videos tomorrow!
This year they decided to post up signs to represent the number of years of taiko experience. For example, the first sign was 0-5 Years of experience. If that's you, then you jumped up on a drum and improvised with others within that category. The process continued in increasing incremements until reaching the final group.
Here's a little bit of the ending below. Unfortunately, I didn't capture the wonderful women of taiko, but I'll get some from someone at some point and post it.
These video clips were taken by Marinda Chen of Seattle Kokon Taiko . They're short, but if you watch them multiple times, you'll always find a new person's energy to enjoy!
Seiichi Tanaka Sensei
Kenny Endo
Russel Baba
Now I'm off to the Opening Session, lunchtime Taiko Games demo, Taiko Marketplace, a workshop with Adam Weiner, Special Tribute to Daihachi Oguchi, and the free Taiko Ten Concert tonight! More videos tomorrow!
Friday, August 7, 2009
Make it Your Own, STI Day 3
Time has flown by so quickly! STI is over and we're moving, full-force, into a jam-packed NATC weekend. Hopefully I'll snag some time to keep writing!
Yesterday was the final day of the 2009 Summer Taiko Institute. I was sad to see it go... There's really something great about gathering with a group of people who've never played together before, learning with them, getting challenged by and with them, and bringing it all together with a performance. (okay, it was more like a "showing".)
The song we learned, like Omiyage, is meant to be shared with the taiko community--anyone can perform it. In Shoji's opinion Omiyage, which has been released under a free art license failed to take shape has he hoped, so yesterday morning he spoke to us about how he really wishes this new song to be used by the taiko community.
On Ensemble really embraces differences in people. There's no one way to play taiko--this was communicated loud and clear. But, in addition to that, it's also important to explore and discover what works for you. What is taiko? You must experiment and discover that for yourself. If you want to really say something when you're on the stage, you must take ownership of what you're playing.
Keeping this in mind, Shoji went on to explain that if you use this new song, he hopes you'll make it your own. Take it, pull it apart, put it back together, experiment, share it. Don't say this song is "by Shoji Kameda" because when you use it, it should be yours.
Take a look at one of our final rehearsals of the song below. Be sure to visit my YouTube page for more videos from the week! (I'll continue to post videos in the coming weeks.)
Yesterday was the final day of the 2009 Summer Taiko Institute. I was sad to see it go... There's really something great about gathering with a group of people who've never played together before, learning with them, getting challenged by and with them, and bringing it all together with a performance. (okay, it was more like a "showing".)
The song we learned, like Omiyage, is meant to be shared with the taiko community--anyone can perform it. In Shoji's opinion Omiyage, which has been released under a free art license failed to take shape has he hoped, so yesterday morning he spoke to us about how he really wishes this new song to be used by the taiko community.
On Ensemble really embraces differences in people. There's no one way to play taiko--this was communicated loud and clear. But, in addition to that, it's also important to explore and discover what works for you. What is taiko? You must experiment and discover that for yourself. If you want to really say something when you're on the stage, you must take ownership of what you're playing.
Keeping this in mind, Shoji went on to explain that if you use this new song, he hopes you'll make it your own. Take it, pull it apart, put it back together, experiment, share it. Don't say this song is "by Shoji Kameda" because when you use it, it should be yours.
Take a look at one of our final rehearsals of the song below. Be sure to visit my YouTube page for more videos from the week! (I'll continue to post videos in the coming weeks.)
Wednesday, August 5, 2009
Ghost Notes, STI Day 2
STI is set up in a great way this year. Each of On Ensemble's members gives instruction on specific skills and technique, and then we learn parts of a brand new composition in smaller, break-out groups. Simply put, we are taught a skill and are then given a very immediate and practical way to apply it.
Yesterday, Kelvin Underwood talked about ghost notes as an essential way to keep timing. Ghost notes make up the steady beat the audience doesn't hear while you're playing, but you should always hear it in your head. There's one thing that Kelvin said that I really liked and I'll try my best to recapture here.
We each have our own individual pulse. These pulses do not keep steady time and often fluctuate--perhaps your heart beats faster for a few beats and then slows down. When a group of people play taiko, a steady, shared pulse is created. The goal, then, is to keep that shared pulse to carry you together, through a song.
Last night, a group gathered in the lobby of the Miyako hotel to practice the song we've been learning with a metronome. Using 1 wasn't quite loud enough, so we tried to start 2, simultanously. Suzee, a fellow STI participant, mentioned the idea that if you play metronomes together they will eventually sync on their own. We didn't experiment with this last night, but I think it's a great way to tie together what Kelvin taught us yesterday:
If you put taiko players in a room, and everyone is counting the same ghost beats and feeling it become their own inner pulse: Sync Happens.
Here's a little clip from our lobby practice!
Yesterday, Kelvin Underwood talked about ghost notes as an essential way to keep timing. Ghost notes make up the steady beat the audience doesn't hear while you're playing, but you should always hear it in your head. There's one thing that Kelvin said that I really liked and I'll try my best to recapture here.
We each have our own individual pulse. These pulses do not keep steady time and often fluctuate--perhaps your heart beats faster for a few beats and then slows down. When a group of people play taiko, a steady, shared pulse is created. The goal, then, is to keep that shared pulse to carry you together, through a song.
Last night, a group gathered in the lobby of the Miyako hotel to practice the song we've been learning with a metronome. Using 1 wasn't quite loud enough, so we tried to start 2, simultanously. Suzee, a fellow STI participant, mentioned the idea that if you play metronomes together they will eventually sync on their own. We didn't experiment with this last night, but I think it's a great way to tie together what Kelvin taught us yesterday:
If you put taiko players in a room, and everyone is counting the same ghost beats and feeling it become their own inner pulse: Sync Happens.
Here's a little clip from our lobby practice!
Tuesday, August 4, 2009
Narasu, Summer Taiko Institute (STI) Day 1
I'm here in LA for the Summer Taiko Institute with On Ensemble. We had a great first day and I took lots of video clips that I'd love to share with you, but will have to upload them later--keep an eye out for them. I'll post a Twitter when I actually get them up.
Yesterday was jam-packed with lots of instruction and I really can't recapture everything here. So, my thought is that I'll take one thing that stuck out in my mind for the day and share it with you.
Kris Bergstrom talked quite a bit about "narasu" as he explained On Ensemble's stance when playing the drum. "Narasu" is the verb in Japanese for "to ring" or "to chime". He suggested that, as we consider our role in standing before a taiko, we think "narasu" instead of "tataku" which means simply "to hit" or "to strike".
Kris and On Ensemble's stance really focuses on connecting with the drum, rather than connecting with your audience. They accomplish this by creating a gentle space between your body and the drum as well as between your arms and the drum, focusing more in the drum's direction with your eyes and your upper body, and setting your feet up more vertically (right foot further back than most).
However, like everything they shared, everything is flexible depending on circumstance: What kind of mood does your song have? Do you want to show a connection with the audience instead? How about connecting with your fellow members? Considering and discussing the relationship your own group has to taiko, to each other, and your audience when playing, and then experimenting how to do this is a great way to refine your group's own style.
It's important to keep in mind that there's no one way to play taiko. I think when someone has only one or a few resources, it's certainly tough to keep this in mind.
But, if the above seems to ring true for your taiko goals, get out there and ring your drum!
Yesterday was jam-packed with lots of instruction and I really can't recapture everything here. So, my thought is that I'll take one thing that stuck out in my mind for the day and share it with you.
Kris Bergstrom talked quite a bit about "narasu" as he explained On Ensemble's stance when playing the drum. "Narasu" is the verb in Japanese for "to ring" or "to chime". He suggested that, as we consider our role in standing before a taiko, we think "narasu" instead of "tataku" which means simply "to hit" or "to strike".
Kris and On Ensemble's stance really focuses on connecting with the drum, rather than connecting with your audience. They accomplish this by creating a gentle space between your body and the drum as well as between your arms and the drum, focusing more in the drum's direction with your eyes and your upper body, and setting your feet up more vertically (right foot further back than most).
However, like everything they shared, everything is flexible depending on circumstance: What kind of mood does your song have? Do you want to show a connection with the audience instead? How about connecting with your fellow members? Considering and discussing the relationship your own group has to taiko, to each other, and your audience when playing, and then experimenting how to do this is a great way to refine your group's own style.
It's important to keep in mind that there's no one way to play taiko. I think when someone has only one or a few resources, it's certainly tough to keep this in mind.
But, if the above seems to ring true for your taiko goals, get out there and ring your drum!
Saturday, August 1, 2009
Taiko Drill Part 44, DON TSU KU (taiko set)
Hey there! One of these days I'm going to get all these posts organized, but it's a bit too busy right now. I'm leaving for Summer Taiko Institute in LA with On Ensemble in just 2 days and am looking forward to some new challenges to mind, body, and rhythm!
In the meantime, today's drill is quite simple. Hopefully you've gotten a sense of how to move smoothly back and forth between drums at a moderate pace. Here's another pattern to practice just that.
Focus: Form, Timing
Watch For:
1. Be sure to use a metronome to practice this drill. This helps tremendously with timing. Always work at a comfortable speed where you can keep the pace steady. Need a metronome? Check out my brief intro to my newest Dr. Beat.
2. Keep control from your core!
Today's pattern is 3 don tsuku, followed by do ko do ko. This basic pattern is looped. Aim for 15-20 minutes without stopping.
The initial "don" is played on your high-pitched drum, to your right. The following "tsu ku" and next 2 "don tsu kus" are on the lower-pitched drum, to your left. The initial "do ko" is played on the left drum, and the second is played on the right drum.
Check out the video for an example (I can't view the video at the moment, so I hope the above explanation is correct!):
I'll be playing next week by ear since I'll be in in LA all week for STI and NATC. I'm really looking forward to hitting a drum right now!
Anyone out there going to NATC??
In the meantime, today's drill is quite simple. Hopefully you've gotten a sense of how to move smoothly back and forth between drums at a moderate pace. Here's another pattern to practice just that.
Focus: Form, Timing
Watch For:
1. Be sure to use a metronome to practice this drill. This helps tremendously with timing. Always work at a comfortable speed where you can keep the pace steady. Need a metronome? Check out my brief intro to my newest Dr. Beat.
2. Keep control from your core!
Today's pattern is 3 don tsuku, followed by do ko do ko. This basic pattern is looped. Aim for 15-20 minutes without stopping.
The initial "don" is played on your high-pitched drum, to your right. The following "tsu ku" and next 2 "don tsu kus" are on the lower-pitched drum, to your left. The initial "do ko" is played on the left drum, and the second is played on the right drum.
Check out the video for an example (I can't view the video at the moment, so I hope the above explanation is correct!):
I'll be playing next week by ear since I'll be in in LA all week for STI and NATC. I'm really looking forward to hitting a drum right now!
Anyone out there going to NATC??
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