Playing Position

Balance
The drum should rest on your left leg, approximately 15 - 20 centimeters forward from your hip junction, inbetween your knee and your hip. The left hand rests on the rim of the drum directly above the point where the drum rests on your leg. It is important that the drum can balance itself between your hand and leg. You should not feel the need to push the drum down to hold it steady.

The Cross
Be aware of the cross that forms between your head, the two rim intersections in the middle of your body, & the ground, and from your right elbow, through the striking point to the rim on the opposite side of the drum.

Playing Position

The drum should rest on your leg parallel to your body. It should not rotate to the left or right at any time. Keep good posture, with your back straight and your shoulders even.

Palm Thom
Palm Thom Stroke The most important aspect of the thom stroke is the follow through, meaning what happens to your hand and body after the initial stroke. The stroke pushes the sound though the drum, rather than striking it directly. The hand and arm follow though to the opposite side of the drum, and pull the sound out from the center. You should feel the sound being pushed from the right to left side of your abdomen, also shifting your seated balance from left to right. Always keep your 4 ngers joined.

Hand Formations

It is important to develop strength and independence with the primary Tak ngers (Ring Fingers) of both hands. It is necessary to stretch the muscles in your hands by holding this hand position over a period of time. By stretching your ring nger and thumb forward, it should feel as if something is pushing the center of your palm in the opposite direction.

Try to stretch your middle and little nger as far as possible in opposite directions. You should feel the stretch in the area around the large knuckle of your ring nger. You should try to hold this position for as long as possible, then relax for a few moments, then repeat.

Rim Tak, Center Tak, & Palm Thom Striking Positions

3rd Position 2nd Position 1st Position 4th Position

1 Center Stroke Area

3 Center Stroke Area

Palm Thom Area

Rim Tak & Harmonics Striking Positions

1st Position 2nd Position

* Directly on the rim.

* From the point where the skin is free from the rim to approximately 1 cm into the drum.

3rd Position

4th Position

* Aprrox 1 cm - 3 cm into the drum. The edge of your hand next to your small nger should touch the rim.

* Aprrox 3 cm - 6.5 cm into the drum. palms of the hands should be at on the rim.

Center Tak Positions

1 Stroke This is a light stoke, usually used in combination with the 3 center Thom stroke. The contact of the skin of the index nger to the skin of the drum produces the correct texture for the stroke. The amount of thumbnail contact can vary, depending on the sound desired.

3 Stroke

This stroke can be played at every volume level, and so can the force of the attack. It essentially creates an inhaling breath, pushing the sound upward. It is important to hear the sound of the thumbnail clearly. It is used in combination with the M center Thom & Palm Thom strokes.

Flat Stroke

This stroke is played without any aming of the ngers. It is important to always keep your ngers joined, and that they all make contact with the drum at the same time. This stroke produces a tak with more low frequency.

4 Stroke

This is the most powerful center tak, using all of the ngers and thumb. Your ngers should form the gure 4 formation, keeping your ngers separated and your thumb stiff.

Cup Stroke

This stroke is executed keeping your hand and ngers as stiff as possible. The hand forms a C cup formation, with the center of the palm forming a sound cavern. This stroke can produce the full harmonic resonance from the drum.

3 Stroke

4 Rolling Position

1
Basic Pattern Articulated Patterns

8 4
M

1 1 1

..

8 4 ( ) ..
M R 1 1 R 1 1 1 1 3

Variation 1

8 4 ..
M R F F F F R F F F F F

8 4
M

F F F F R

..
F F F F F

Variation 2

. 8 . 4 .
R R R R R R R R R R

8 4

L L RL RRL L RL R

L L RL RL RL

L RL RL

2
Articulated Patterns Basic Pattern

4 4

R M

j
1 3

1 3

R M

..

4 4

R M

1 3

1 3

R M

..

Variation 1

4 4

j
C

..

4 4

..

Variation 2

4 4

C 3

..

4 4

Slide -----

C 3

..
L L L R

Variation 3

4 4

. .
R L

4 4

L L

R L R L

. .
R L

Basic Pattern

Articulated Patterns

2 4

..

2 4 ( )
M

( )
M

..

2 4 2 4

..

2 4

..

..

Variation 1

2 4

..

2 4

..

2 4 !
M

(3)

..

Variation 2

2 4

..
4 4 M 4 4

2 4

>

4 4

>

..
4 4

* 4 with No Flam

Basic Pattern

2 4

4 4

>j .
R

..

2 4

4 4

>
R

..
L

2 4

4 4

> 3 . .
R R2 R1 L

Basic Pattern

2 4
4

..

2 4
4 L

.. ..

2 4
4 L

.. ..

2 4

2 4

R L

Basic Pattern

Articulated Patterns

6 8

..

6 8 6 8

..

! . .
L2

Variation 1

6 8

. .
R L

6 8

. .
R L

6 8
Variation 2

! . .

6 8

R L R L

. .
R L

6 8

!
R L R L

!
R

. .
R L

Variation 3

6 8

R R L R

L R

R R

R L

. .
L R

6 8

!
R R L R

L R

L L

L L

R R

L L

R L

. .
L R

Da Ka Sa Da Ki Variation

6 8

..

6 .. 8
4 L3 4 4 4 L3 4 4 L3

Tak Strengthening Reduction

8 4 ..

7 4

6 4

5 4

4 4

3 4

2 4

1 4

6 4

. .

Legend

Thoms

Center Taks

Rim Taks

Wood Taks

Thom Strokes

Palm Stroke

M Middle Finger

R Ring Finger

H Heel Push

Center Tak Strokes

F 3 Finger Flat Stroke

C Cup Stroke

Rim Tak & Harmonic Strokes

3 (third harm.)

Edge

2 (second harmonic)

4 (fourth harm.)

Outer Rim (no skin)

All Rim Tak strokes are with the ring finger, unless indicated by "M" for middle finger. "L3" indicates left hand three finger grab.

Rolls

@
RL D Double Stroke

@
RL 2 Finger Roll
J. Cagwin

z
RL 3 Finger Roll

RL S Single Stroke