NATC 2025 Phoenix

For your more freedom musical express, “Chappa” will be became the best partner for you.
It will make you to moving around on stage and adding some of another color for your team numbers.
Contrary of seems, it is very difficult to handle for making good sound.

A famous Chappa player can control different over 200 sounds.
Ringtaro introduces the most essential 7 sounds in this workshop.
After workshop, you may create your original sound illimitably with your sensibility!

Prerequisite/What to bring: Please bring your Chappa if you have it.

This workshop will consist of a combination of lectures and hands-on experiences covering the following topics:

Shinobue Overview:
- Types of Shinobue: Koten, Uta, Doremi
- Shinobue Keys: Hon Choshi

Producing Sound with Shinobue:
- Shinobue is an air reed instrument
- Creating sound without using fingers
- Posture
- Finger Position

Shinobue Range:
- Ryo On, Kan On, Dai Kan On

Three Elements for Beautiful Shinobue Tone:
- Quality of the Breath (Diaphragmatic Breathing)
- Shinobue Position on the lips
- Direction of the Breath (Embouchure)

Prerequisite/What to bring: Prior experience with the shinobue is not nessesary. Participants are kindly requested to bring their own shinobue or may opt to purchase a Suzuki plastic shinobue from me on the day of the workshop.

Join Sumie Kaneko, David Wells, and Isaku Kageyama in a workshop series where participants will be the first to learn WAISSHO Ondo ・ 和一緒 (ワイッショ) 音頭 ・an original song written by Sumie in the style of Bon Odori. This series will focus on learning the taiko, fue, and vocal parts of the song, giving participants a unique opportunity to be the first to bring this new composition to life at their local Obon Festival.

The shamisen class will begin with the basics. As you may know, the shamisen shares similarities with the taiko in its construction and use of bachi. We'll start with how to hold the instrument and then practice basic strokes, such as "don" and "uchikomi" (we'll even incorporate "kuchishoga"!). Once we're comfortable, we'll move on to reading scores. Since the song is new for everyone, I've created two shamisen parts: a beginner part with minimal hits and an intermediate part with more hits. For those who aren't familiar with score reading, don't worry—I'll guide you verbally through the music.

By the end of the series, you’ll have the knowledge and skills to perform a newly crafted song that honors the spirit of Obon. Recordings and practice tracks will be provided. This workshop is open to all experience levels and is designed to foster a sense of community through the shared joy of creating and performing music.

Participants in this workshop are invited to also take "Playing as an Ensemble for a New Bon Odori Song" on Saturday (4:45-6:45), where the drum, dance, fue, narimono, shamisen, and singing parts will come together to play as an ensemble. Participants are then invited to play WAISSHO Ondo for the closing ceremony of NATC Phoenix.

This Ondo is especially made for NATC participants who want to upgrade their musicality by not only playing taiko but also understanding the singing line and shamisen/fue line, so they can play the piece with consideration vertically in the music, not only horizontally playing your taiko part.

Please Bring: Shamisen if you have one. We will have shamisen that can be borrowed for those without.

This workshop offers participants a comprehensive introduction to the foundational techniques of the Odaiko including grip, stance, and mechanics.

In addition to technique, attendees will develop a deeper understanding of Odaiko performance through practice methods for continued development beyond NATC, and repertoire that can be performed with their own ensembles.

Whether you are approaching the Odaiko for the first time or are a seasoned player seeking to refine your fundamentals, I hope this workshop has something to offer you.

Prerequisite/What to bring: Odaiko bachi

Good shime daiko technique will improve your technique on all sized taiko. This class will concentrate on the intricate shime daiko techniques and patterns found in the lively festival music of Edo Bayashi (Tokyo festival music). This technique is quite refined and has applications to all of your repertoire . Emphasis will be on timing, playing with precision, grip, sound, nori (groove), and relaxing.

Prerequisite/What to bring: Bring a pair of shime daiko made from Hiroki or similar soft wood. Ideally Edo Bayashi type shime bachi (made from hinoki, 12 and 5/8 inches long and 5/8 inches in diameter). It's fine If the bachi are slightly longer or made from a medium-soft wood.

Whether you’re new to soloing and don’t know where to start, struggling to come up with new ideas, or just stuck playing the same solos over and over, this is the workshop for you! We’ll ease into improvisation with simple drills, then cover different aspects of improv as it pertains to taiko and show you a world of possibilities to explore! We’ll also cover best practices for crafting a solo using the tools we learned in this workshop. This workshop is best for those with at least a little bit of soloing experience, but all are welcome!

Prerequisite/What to bring: 1 pair regular bachi

This is a special workshop being offered by visiting artists from Matsuyama, on the island of Shikoku, Japan. This is part of a series of workshops being offered by groups that have deep connections to taiko in Phoenix through relationships with Esther Vandecar, who studied with these groups in Japan and become a pioneer of the taiko community in Phoenix.

Shinsan Daiko will share music from their region and their approach to taiko.

Written during the searing heat of a Tucson summer, 105° invokes the power of the Sonora desert sun. Players move athletically from a naname chu to a yokouchi odaiko, playing them separately and together. The song also has a shime part that holds the jiuchi and provides fills at key moments. Physically demanding, 105° gives players an experiential understanding of the grit it takes to be a taiko player in the desert, be that the desert southwest or a metaphorical desert, a place where taiko has drilled a deep taproot far from its California epicenter. The piece is appropriate for intermediate and advanced players.

The session will begin with a demonstration of the song and discussion of its origins and artistic intent. Participants will then learn the song through active call and answer (both vocal and on taiko). Participants will work in groups of two, alternating turns at the drums and doing air bachi. (The song is very physical and this approach will prevent overexertion.) 105° is released under Copyleft - By Attribution- No Derivatives - Share Alike license, and every participant will have full permission to teach the song and perform it with their groups.

Prerequisite/What to bring: Naname and yokouchi (up drum) fundamentals; ni-dan experience helpful but not required

This workshop introduces San Jose Taiko’s stylistic approach to katsugi okedo. Tools will be provided to help embrace the mobile nature of this instrument based on SJT’s focus on movement. This workshop is ideally for players who have played on a katsugi okedo before and would like to experience a different approach to the instrument.

Prerequisite/What to bring: Participant has established a preference on strap length and overall fit of the katsugi okedo on body, calluses built up on hands from performance/practice :)

In this workshop participants will learn the basic taiko strokes and different drills and exercises that will build bachi control and facility. Participants will learn how to ‘listen’ to their bachi and develop good touch and feel with their bachi. By the end of this workshop series participants will have a new appreciation for their bachi and understand how to practice in a way where the bachi will become a natural extension of their body.

Prerequisite/What to bring: None

We taiko players need to be more sensitive!  While taiko is designed for raw power and volume, we play too loud for too long.  While kuchishoga is an amazing tool for learning, we've let it reduce our subtlety and tonal range.

Fortunately, we all possess a well of sensitivity that can guide our playing: our sense of touch. We can train our musicality with the emotional wisdom in our bodies. This workshop maps our sense of touch onto the drum to answer questions like, "How loud?... for how long?... and what next?"

Prerequisites: Open to players of all levels. Musical curiosity required. Workshop will involve self-touch and optional touch of others' hands, arms, shoulders, and heads.

With the right approach, composing can go from daunting task to flavorful expression just like A, B...A, C. Understand principles such as structure, theme, shape, and more to help you make inspired choices about bringing your artistic voice into the world.

Prerequisite/What to bring: Participants should be comfortable with basic taiko technique and with learning taiko repertoire.

Prior composition experience is NOT necessary, but can be helpful.

For the first time, PJ will present an immersive experience for Beginners an seasoned players of Ei Ja Nai Ka (EJNK) based on her creative initiative “TaikoPeace” (acronym: Taiko Partnerships, Empathy, And Creative Empowerment). Along with learning the basic components of EJNK—the dance, taiko rhythms, chant—PJ will give a deeper understanding to how EJNK ripples the kinetic energy, spiritual vibration, and pure joy of taiko drumming for positive social change and a peaceful world. She will share a dynamic exercise, she calls “Embodied Storytelling”, that helps promote group bonding and community building.

Please Bring:
-Open mind, Open heart
-#7-#8 bachi for chudaiko
-Journal, pen/pencil

Ever wanted to perform and experience a hundred-year-old obon song? Taiko, fue, singing and dancing will energize you as you learn “Fukushima Ondo”. The song from the Fukushima region was brought to Maui by Japanese immigrants who worked on sugar plantations. Kay Fukumoto, a fifty-year performer of the song and a fourth-generation family member continuing the tradition, along with Maui Taiko assistants, will help participants to bring the song together. Participants will be sent links to learn the different elements and encouraged to learn them prior to the workshop. (Note: if this is possible - The song will be performed by participants at the Sunday recital with other conference attendees dancing.)

Prerequisite/What to bring: Knowing drumming for "Matsuri" will be helpful but not required. Equipment: kumidaiko & shime bachi

Naname-style is where the drum head is oriented diagonally and played in a ‘slanted’ style.
The foundation of proficient taiko playing lies in mastering basic form, technique, and fundamentals. The essential components of taiko fundamentals encompass the proper grip of bachi, adopting a suitable stance, and refining hitting techniques.

During this workshop, participants will receive an introduction to bachi grips, stances, and strokes. A specific drill will be presented, emphasizing the core elements of taiko form and music. This workshop is designed to concentrate on learning basic form and technique, which can subsequently be applied to various styles of taiko playing and music.

Prerequisite/What to bring: Beginner-level workshop, but open to all skill levels. No naname experience required.
Participants will need a pair of chu-daiko bachi.

‘Shiawase no Kyoku’ composed by Sascha Molina, is an energetic piece which can be translated to ‘The Happy Song!’ This piece was written with chu daiko (beta), shime daiko and shinobue in mind, but, has been performed with various equipment combinations.

All levels of taiko knowledge welcome!


Please Bring:
Bachi for chu daiko and shime.

There is a Shinobue part to this song, if you have a shinobue and want to learn that section, please bring it to the workshop!

This is a short panel about Brazilian Taiko History.
Brazilian Taiko started in the 70´s and for a lot of reasons, it developed differently from North America. We will explain those differences and how it became what it is today.

Prerequisite/What to bring: None

About the Exadon Workshops: Connect Through Rhythm
These two-hour workshops offer an immersive and inclusive experience that anyone can enjoy. Through a variety of activities, participants will deepen their understanding of one another while exploring the power of taiko drumming.

The goal is to create a harmonious sound by actively listening and working together. By fostering cooperation and awareness, participants will rediscover essential elements of taiko performance—including listening, expression, and posture.

Beyond performance, these workshops offer insight into the broader potential of taiko. Taiko as a community builder. Taiko as a means of connection. Whether on stage or in everyday life, the rhythmic energy of taiko can inspire new ways to engage with others.
Come experience it for yourself!

Who Is It For?
● Taiko players and leaders looking to contribute to their community through drumming.
● Anyone who wants to experience a welcoming and inclusive taiko workshop.
● Those seeking to rediscover the essential elements of taiko performance.

Exercises promoting spontaneity, self expression, and creativity through rhythm, words and sounds will be explored. Small groups will be formed based on common interests to create a written piece (poetry/rap/story). The written works will become the basis for a taiko piece: recited and transformed into rhythmic patterns for taiko; juxtaposed within a taiko piece; or…?

Join Sumie Kaneko, David Wells, and Isaku Kageyama in a workshop series where participants will be the first to learn WAISSHO Ondo ・ 和一緒 (ワイッショ) 音頭 ・an original song written by Sumie in the style of Bon Odori. This series will focus on learning the taiko, fue, and vocal parts of the song, giving participants a unique opportunity to be the first to bring this new composition to life at their local Obon Festival.

While your voice is your most accessible instrument, it's also hidden within your body. Similar to how you prepare your taiko and bachi, your voice needs warming up before singing.

The vocal class will begin with exercises to enhance body awareness and prepare your voice for singing, rather than speaking. Once your voice is ready, we'll dive into learning "WAISSHO Ondo," a piece that truly celebrates the power of vocals and kakegoe. Your voice and energy are essential!

By the end of the series, you’ll have the knowledge and skills to perform a newly crafted song that honors the spirit of Obon. Recordings and practice tracks will be provided. This workshop is open to all experience levels and is designed to foster a sense of community through the shared joy of creating and performing music.

Participants in this workshop are invited to also take "Playing as an Ensemble for a New Bon Odori Song" on Saturday (4:45-6:45), where the drum, dance, fue, narimono, shamisen, and singing parts will come together to play as an ensemble. Participants are then invited to play WAISSHO Ondo for the closing ceremony of NATC Phoenix.

This Ondo is especially made for NATC participants who want to upgrade their musicality by not only playing taiko but also understanding the singing line and shamisen/fue line, so they can play the piece with consideration vertically in the music, not only horizontally playing your taiko part.

Basics for performing on the 'big drum' will include stance, grip, hitting techniques, training tips, maximizing sounds, and relaxing. Traditional Kabuki patterns on the odaiko will also be introduced. A practice odaiko piece, Odaiko Kakeai Kihon Kyoku (an open source piece), will be taught focusing on fundamentals, simple improvisation, base beat patterns, and becoming more comfortable and dynamic at performing the odaiko.

Prerequisite/What to bring: Bring a pair of Odaiko bachi which can be made of hinoki (or similar soft wood) pine (or similar medium hardness) or oak (kashi) or similar hard wood. The bachi can be sized for what you normally play in your group. The corners of the bachi should be slightly rounded off to protect the skins (often new bachi have a sharp corner which can tear the skins).

Participants will learn the movements of Wakayama Ryu Edo Kotobuki Jishi, the traditional celebratory shishimai (lion dance) of Tokyo, more in depths to have better understanding on how it will be done in a performance setting.

Prerequisite/What to bring: Participants should have taken one or more lessons/workshops in the past, in Wakayama Ryu style.

Just as the desert presents unique challenges that demand adaptability, the world of music offers an array of scales and modes that can expand your musical expression and improvisational ability. This workshop focuses on using different scales and modes in shinobue playing to unlock new pathways for improvisation, enhancing your musicality and flexibility.
Through a series of practical exercises, participants will explore how varying scales, from traditional Japanese modes to more contemporary approaches, can add depth and color to their playing. By learning how to navigate between these modes and improvise with confidence, players will gain the tools to thrive creatively in any musical environment, much like how life flourishes in the desert’s sparse landscape. Whether you're looking to improve your solo performance or collaborate more dynamically with ensembles, this workshop will help you harness the versatility of the shinobue and find new dimensions in your music.

Prerequisite/What to bring: Equipment:
Shinobue (Utabue, #6 preferred)
Prerequisite Ability: Playing Ryo-on and Kan-on range on shinobue. Reading fingering notation (kanji numbers for Ryo-on)

This is a special workshop being offered by visiting artists from Hiroshima, Japan, who have an ongoing relationship with taiko groups in the Phoenix area. This is part of a series of workshops being offered by groups that have deep connections to taiko in Phoenix through relationships with Esther Vandecar, who studied with these groups in Japan and become a pioneer of the taiko community in Phoenix.

Hiroshima Hozonkai will share music from their region and their approach to taiko.

After a long weekend of taiko, we'll finish off our time together with a closing ceremony.

(Taiko Voices?)
We will close the program with NATC Ondo, performed by members of the workshops who learned the piece.