The Fourth US

TAKETINA

CORNELIA FLATISCHLER
LEADERS: REINHARD AND
Rhythm Teacher Training 2009 – 2012
TAKETINA
• is one of the most efficient learning methods available today.
• is a musical group process that works equally for professional
musicians and beginners.
• develops rhythmic competence and musical creativity in all styles
of music.
• is used in music universities and therapy clinics worldwide.
 CONTENTS

1. THE TAKETINA RHYTHM PROCESS 4

2. THE TAKETINA TRAINING STRUCTURE – AN OVERVIEW 6

3. LEADERS OF THE TRAINING 8

4. RECOMMENDATIONS, PREREQUISITES, MOTIVATION, TRAINING GOALS 10

5. CONTENT AND CURRICULUM 12

6. DRUMS AND PERCUSSION INSTRUMENTS IN THE TRAINING 16

7. APPLICATION, INTRODUCTION WORKSHOP, REGISTRATION 20

8. ORGANIZATION, LOCATION, FINANCES, TIME FRAME 21

1. THE TAKETINA RHYTHM PROCESS

The TaKeTiNa Rhythm Process develops

• rhythmic body consciousness.

• increased competence in playing drums and
other percussion instruments.
• an expressive and natural sounding voice.
• the basic knowledge for improvisation and
composition.
• the ability to facilitate a musical group process.

4
T aKeTiNa is a musical group
process that allows people
to access their innate ability to
express and embody rhythm.
TaKeTiNa conveys rhythm in a most
natural and organic manner. Instead
of being taught random rhythmic
patterns, participants are guided into
the experience of rhythm archetypes –
rhythmic images, anchored in the
consciousness of every human being.
In TaKeTiNa, the body is the main
instrument, providing an encounter
with rhythm that is direct and intense.
Participants of a TaKeTiNa process are
guided into three different rhythmic
layers at the same time: voice, claps,
and steps. Vocalization and clap
rhythms unfold in new and ever-
changing patterns while the steps,
supported by the surdo bass drum,
remain unchanged. The drum stabilizes
the basic rhythm of the steps, while
call-response singing can destabilize
rhythmic movements. In this process
the simultaneity of stabilization and
destabilization creates an energy field
that allows participants to fall out and
fall back into rhythm. The power of
the group allows the individual to go
into his/her own process, building
deep musical and personal self-trust.
Learning rhythm and music with the
TaKeTiNa process always means
learning about life too. Everything that
hinders our life is reflected in this
musical process as rhythmic disability.
Our inner obstacles can be trans-
formed by the rhythmic evolution that
unfolds in TaKeTiNa. Realms in our
lives, previously separated, begin to
integrate. Emotion with rational
thought, intuitive feeling with cogni-
tive action, passivity with activity,
outer movements with inner silence –
all meet in the simultaneity of rhythm.
The mind becomes quiet and an
encounter with the inner self becomes
possible. In TaKeTiNa, the participant
remains part of a collective and, at the
same time, is able to learn at his or
her own pace.
TaKeTiNa is a radical new vision of
rhythm training. This program supple-
ments existing knowledge with new
approaches, creating inexhaustible
resources for learning drums and
percussion, and arranging and com-
posing music. Through TaKeTiNa, the
student gains direct access to the
rhythmic worlds of Africa, Asia, and
Latin America, which, in turn, leads to
increased competence and creativity
in the related rhythms of classical
music, jazz, and hip hop.
5
2. THE TAKETINA TRAINING STRUCTURE – AN OVERVIEW
2.1. LEVELS OF TRAINING
In the TaKeTiNa process, musical and
personal evolution is intimately con-
nected. A TaKeTiNa rhythm teacher
needs to develop a large variety of
skills in different areas; therefore, the
complete curriculum for TaKeTiNa
rhythm teachers contains several
training levels, each of which initiates
the trainees into certain leadership
skills and musical abilities. The Basic
Rhythm Teacher Training enables
participants to facilitate a TaKeTiNa
group process at a competent and
responsible level.
• THE TAKETINA RHYTHM TEACHER
TRAINING – BASIC LEVEL
spans three years and consists of 90
training days. Every year there are two
training sets of 15 days each. The train-
ing concludes with an initiation into
6
TaKeTiNa leadership during which • THE SENIOR TEACHER TRAINING
each participant leads a TaKeTiNa cir-
cle. The Basic Training teaches solid spans another three years of intense
competence and knowledge in how training, consisting of 90 training
to lead a circle of people into a days. It concludes with an initiation
meaningful rhythm experience. of leading a three-day workshop
Participation in the Advanced Rhythm under supervision and playing a
Teacher Training is optional. public solo concert with voice, drums,
and percussion. Senior TaKeTiNa
• THE ADVANCED RHYTHM Rhythm Teacher is the highest possible
TEACHER TRAINING qualification.
spans one year and consists of 30
training days. It concludes with an
examination that consists of leading
a one-day workshop as well as giving
an evening lecture about different
aspects of rhythm. After sucessful
completion, Advanced TaKeTiNa
Rhythm Teachers are able to work
with TaKeTiNa at universities and
conferences.
2.2. THE WORLDWIDE TAKETINA FIELD
Currently, there are more than 200
certified TaKeTiNa Rhythm Teachers
working worldwide in different fields:
music universities, conservatories,
hospitals, prisons, rehabilitation
centers, psychotherapy practices,
dance and acting trainings, and in
open workshops. There is a lively
exchange among the TaKeTiNa
teachers, bridging Europe, the US,
Australia, and South Africa.
TaKeTiNa workshops and trainings
have been introduced by Reinhard and
Cornelia Flatischler in many major
cities, amongst them: Vienna, Linz,
Zurich, Basel, Bern, Freiburg,
Karlsruhe, Bremen, Hamburg,
Hannover, Berlin, Munich, Frankfurt,
Cologne, Mumbai, Delhi, Bangalore,
Bangkok, Hong Kong, Seoul, Tokyo,
Melbourne, Sydney, Hawaii, Sao Paulo,
Rio de Janeiro, San Juan (Puerto Rico),
San Francisco, Los Angeles, San
Antonio, Portland, Seattle, Olympia,
Chicago, New York, Washington DC,
Toronto, Boston, and Miami.
Zorina Wolf of Village Heartbeat has
represented the TaKeTiNa Rhythm
Teacher Training in the US since 1996.
In addition to the TaKeTiNa organizers
network, there is the TaKeTiNa office
in Cologne, coordinating TaKeTiNa
activities worldwide. You can contact
our office anytime via mail with
further questions.
TaKeTiNa Office c/o Q-rious Music
Stefan Gross
Moltkestr.80, D-50674 Cologne
Tel.: 011 221-500859-23,
Fax: 011 221-500859-10
e-mail: taketina-office@qrious.de
For more information about the
TaKeTiNa Rhythm Teachers recom-
mended by the TaKeTiNa Institute
you can visit the teachers’ website:
www.taketina.net.
To get information about current
TaKeTiNa events, trainings, and
workshops, please visit
www.taketina.com.
7
3. LEADERS OF THE TRAINING

REINHARD FLATISCHLER
Founder of the TaKeTiNa process

• Born in Vienna, July 1950.

• Piano concert diploma from the
Vienna University of Music under
Professor Bruno Seidelhofer.
• More than 15 years of continuous
drum studies with master drummers
in Asia, Africa, and Latin America.
• Founder and composer of
“MegaDrums,” a group that includes
Airto Moreira, Zakir Hussain, Glen
Velez, Leonard Eto (KODO), Milton
Cardona, Steven Kent, and others.
• Member of a scientific committee in
the “International Society for Music
in Medicine.”
• Founder of the project “Rhythm and
Pain Therapy” that is hosted by the
German Pain Colloquium.
º• Flatischler’s CDs are bestsellers in
the realm of percussion music and
have been nominated for prizes.
• Flatischler’s book, “The Forgotten
Power of Rhythm” is considered a
standard work in music literature.
• New TaKeTiNa book “Rhythm for
Evolution” was awarded the
Comenius EduMedia medal in 2006.

8
CORNELIA FLATISCHLER
Co-developer of the TaKeTiNa Process

• Born in Zurich, May 1966.

• Co-leader of all TaKeTiNa workshops
and trainings worldwide.
• Teacher at various European music
universities and schools.
• Member of the group “MegaDrums.”
• Leader of instrumental trainings.
• 25 years of intense training and
practice in Tai Chi, Tao Yoga,
meditation, and healing arts.
• Awarded certificate as Senior/Master
TaKeTiNa leader in 2007.

9
4. RECOMMENDATIONS, PREREQUISITES, MOTIVATION, TRAINING GOALS
4.1. RECOMMENDATIONS
This training is particularly recom-
mended for musicians, music teachers,
dancers, artists, schoolteachers, social
workers, physicians, therapists, and
practitioners of the healing arts.
10
4.2. PREREQUISITES
No previous formal music education is
required. Everyone interested in the
training must have participated in at
least one TaKeTiNa workshop led by
Reinhard and Cornelia Flatischler.
Participants should have the intention
of making TaKeTiNa a part of their
professional life. Applicants are
expected to have some experience
with meditation and self-awareness.
4.3. MOTIVATION
For everyone involved, this training
consists of a lot of inner and outer
work. The intense immersion in rhythm
creates an expanded awareness which
is not only the basic foundation to lead
a group in TaKeTiNa, but is also a part
of the personal growth process. In
order to create a field in which all
musical and emotional processes can
evolve fruitfully for the individual and
the group, the applicant should have
developed the following qualities:
• Commitment: the ability to continue
on a chosen path, independent of
motivation from outside, especially in
those moments when participants
meet their limitations.
• Realistic self-evaluation: the ability
to respect present limitations paired
with the curiosity to expand beyond
those limitations.
4.4. MOTIVATION FOR
DAILY PRACTICE
The TaKeTiNa Rhythm Teacher
Training is a comprehensive,
professional training that will
require daily practice in order to
master the skills required in many
different areas. Therefore, applicants
are asked to examine their degree of
motivation, commitment, and ability
for daily practice.
From the second training set onwards,
students will form practice groups in
their community to practice their
leading skills.
4.5. TRAINING GOALS
The goal of this training is to enable
students to effectively lead groups
with the TaKeTiNa process. The train-
ing will provide students with the
following skills:
• playing drums and percussion
instruments at a competent level.
• leading TaKeTiNa rhythm workshops
in a way that uses rhythm as a key
for evolution, inner healing, and
expanded awareness.
• competence in knowing the effects
of rhythmic phenomena and their
practical applications.
4.6. INITIATION / CERTIFICATION
The TaKeTiNa Rhythm Teacher
Training concludes with an initiation
in which each student leads a public
TaKeTiNa circle. Every student
receives detailed feedback on his/her
initiation workshop. After passing the
initiation, each student receives certi-
fication as a TaKeTiNa Rhythm
Teacher, basic level. Anyone who was
not able to build an adequate skill
level during the training may complete
his/her initiation during the annual
TaKeTiNa Supervision.
11
5. CONTENT AND CURRICULUM

12
5.1. FOCAL POINTS OF
THE TRAINING
In order to lead participants into a
profound rhythm experience, a
TaKeTiNa teacher needs to learn a
variety of different skills.
He/she plays the surdo drum and the
berimbau, the changgo or the conga;
he/she speaks with participants while
leading the rhythm journey.
Simultaneously, he/she moves in cer-
tain stepping rhythms, always chang-
ing them according to the needs of the
group. As he/she sings call-response in
archetypal rhythm patterns, he/she
knows their effect and is able to
repeat them in exactly the same way.
He/she is able to read the body lan-
guage of the participants and under-
stands where to go next.
This requires a TaKeTiNa teacher to
develop the ability to work in a state
of expanded awareness – to go into
trance and stay wide awake at the
same time. The leaders’ sensorimo-
toric systems must have developed to
a degree that body language can
express even the most complex
polyrhythms with grace and ease.
In order to develop these skills, the
curriculum of the TaKeTiNa Rhythm
Teacher Training puts its focus on a
different subject each training set. In
the last two sets all these different
realms become integrated.
5.2. THE TRAINING CURRICULUM
1. TRAINING SET: 15 DAYS
• Berimbau initiation – developing all
basic skills for playing the berimbau:
sensorimotoric entrainment holding
the vara, vaqueta, and lapis.
Building “tempo” and “contra-tempo.”
Movement architecture for fast and
easy playing.
Berimbau notation.
• Voice training – finding the natural
voice: overtone singing, singing on
basic tone, the fourth and the fifth.
Studying the intervals. Anchoring
all rhythmic syllables, matrix calls
and elementary groove calls.
• Story-telling while drumming.
• TaKeTiNa theory – the process
structure: structure evolution, field
stabilization, and structure opening.
Pulsating, motific, and additive
structured steps. Blueprints of
rhythm journeys. The role of body
language.
• Lecture/discussion evenings:
rhythmic phenomena with audio
and video examples.
• Entraining energy lines with grello
and caxixi.
• Drum selection (see section 6.2).
2. TRAINING SET: 15 DAYS
• Surdo initiation – developing all
basic skills: surdo melodies of all
cycles from 2 to 9.
Playing the left hand within different
subdivision pulsations.
Step forms of all the cycles:
pulsating, additive, divisive, motific.
The role of the surdo player –
energy training.
• Drum initiation – changgo/conga:
Learning basic skills and sounds.
Ensemble theta-drumming and
polyrhythmic drumming. Developing
rhythms for the drum opening of a
TaKeTiNa set.
• Repetition and deepening of berim-
bau skills.
• TaKeTiNa theory: knowing the func-
tions of all process parts. Singing
all matrix calls accompanied by
playing the surdo or the berimbau.
Blueprints of more complex rhythm
journeys.
• Lecture/discussion evenings:
Pulsation, Cycle, Matrix,
Synchronization, and Chaos Theory
in Complex Systems.
• Voice training: intonation, interval,
and scale singing.
13
3. TRAINING SET: 15 DAYS
• Berimbau playing in higher tempo
and more complex structures
(e.g., subdivision of five).
• Surdo – turning with the surdo drum:
movement architecture, energy work,
inner states. Preparing the energy
lines with the surdo – feet and drum
move in different rhythms. Learning
to lead while playing the surdo:
left-right independence, playing
with one hand while the other hand
gives signs.
• “Hands on” – leading the rhythm
process: learning to lead different
parts of the TaKeTiNa process under
direct supervision and active help of
Reinhard and/or Cornelia.
• Drum classes: improvisation and
learning new rhythms.
• Lecture/discussions evenings:
The Rhythmic Voice, Subdivision
and Offbeats, The Essence of
Polyrhythm, The Silent Pulse, and
The Weight Pattern.
14
• Evening talks: TaKeTiNa – philosophy transformed through rhythm.
and terminology. Participants of the training learn
to read relevant signs in the group
• Developing the voice: anchoring and gain competence for responsible
intonation, intervals, finding the leadership in the TaKeTiNa process.
right melodies for groove calls.
• Lecture/discussions evenings:
4. TRAINING SET: 15 DAYS different concepts and views of
rhythm. The Evolution of Rhythm
• Berimbau: leading the structure and Notation in European Music
opening with the berimbau. and Rhythm in the Non-European
Musical Traditions –
• Surdo: field-intensification with India/Korea/Africa/Brazil.
turning movements. The spiritual
aspects of surdo playing, “flying • Drum classes: start of drum
arm” movements, and small and big openings, putting the principles
arm movements. The cooperation of the drum opening in a practical
between leader and surdo player. context.
• First series of “dynamic sets” – a way
of learning presence while leading
a group. Training participants can
encounter personal behavior
patterns that hinder their teaching
process. “Contracting” and
“dissolving” dynamics can become
transparent and be transformed in
this process. Dynamic sets are held
in a safe space, where hindering
patterns can be reflected and
5. TRAINING SET: 15 DAYS
• Berimbau and surdo: repetition and
deepening of skills, integration of
skills in the dynamic sets.
• Balancing groove and tool calls.
• Second series of “dynamic sets”:
reading body language and dynamic
types – their effect in the TaKeTiNa
field.
ª• Drumming: second set for drum
openings.
• Six-hour play-through: ensemble
drumming guided through a journey
of different deepening rhythms for
six hours.
6. INITIATION SET
• Each student will lead a TaKeTiNa
circle with individuals invited to
participate in a real workshop
setting. Only leader and surdo player
will be in the circle, while the rest of
the training group will observe and
witness the process. In this way, the
training group can receive direct
knowledge about the effects and pro-
cedures in leading a TaKeTiNa
process. After each day of leading,
the evening session will be used to
discuss the workshop set, to help
further development, and to deepen
the understanding of the process.
15
6. DRUMS AND PERCUSSION INSTRUMENTS IN THE TRAINING

6.1. TAKETINA INSTRUMENTS

Skills in playing the surdo and the berimbau
will be integrated into the TaKeTiNa process. This
enables TaKeTiNa teachers to guide a circle while
playing their instruments. The instruments listed
on the next page play a central role in leading a
TaKeTiNa circle. They are required study.

16
THE SURDO
This bass drum from Brazil not only
marks the pulse of Samba, it also
represents the heartbeat of TaKeTiNa.
No other drum is able to provide a
rhythmic foundation like the surdo.
The surdo is the voice for the basic
pulse and the cycle. It accompanies
the steps of a group. The surdo
stabilizes; it is the mother drum. To
play a surdo drum for more than two
hours in a TaKeTiNa circle requires
energetic knowledge, meditation skills,
vitality, and precise knowledge about
the functions of the role a surdo
player holds in the process.
THE BERIMBAU
Also originating from Brazil, the
berimbau is a musical bow that blends
sound and rhythm into an expression
that naturally supports the voice.
The subdivision pulsation in the
intervals is heard and felt through
the berimbau. This instrument looks
simple but it requires a refined playing
technique.It provides an abundance of
color in musical expression.
CAXIXI AND GRELLO
The rattle, perhaps the oldest
percussion instrument, has a powerful
trance-inducing effect. The caxixi,
used in the TaKeTiNa process, is able
to combine accents with an ongoing
rhythm.
The grello is an iron castanet from
West Africa and makes it possible to
“clap with one hand.” The combination
of grello and caxixi allows an
unlimited number of rhythmic
possibilities. Grello-caxixi exercises
are incredibly powerful in developing
deep left-right independence and
coordination.
All instruments mentioned are needed
to accompany a TaKeTiNa process.
17
6.2. THE DRUMS
In addition to learning the instruments
mentioned, students will also learn
to play one drum of their choice.
Participants can choose from the
following drums:
18
CONGA/ATABAQUE/KPANLOGO DRUM
“The power directed to mother earth”
Origin: Africa, Cuba, Brazil
When these drums are played, energy
moves in a vertical manner. The sound
connects directly with mother earth.
The hand of the drummer touches the
skin of the drum directly and every
change in hand position, however
slight, creates new sounds.
These drums exist in Africa and Latin
America in many shapes and forms,
representing a variety of timbres.
CHANGGO
“The interaction of left and right”
Origin: Korea
The changgo is a double-headed drum
from Korea, played in the shaman
“kut” ceremonies. The changgo is
played with a thin stick (jolche) and
wooden mallet (gungulche). The size
and weight of the drum allows the
drummer to move freely while playing.
The drum body, with its hourglass
shape, activates the theme of left and
right. The left skin called “kung pyon”
literally means “door to the other
worlds” and refers to the intuitive
quality of the left hand in playing the
changgo. The right skin, called “che
pyon” represents the “door to the
rational world” and is connected to
the structuring quality of the right
hand. Playing the changgo develops
skills and awareness of the movement
qualities of the two body halves |
and brings them into a flow of
communication.
Although the changgo is a Korean
drum, it represents the archetypal
principal of a transversal drum and
is a great instrument for the
development of rhythmic awareness.
6.3. LEARNING DRUMS WITH TAKETINA
The process of learning on the drum
involves several different rhythmic
layers simultaneously. Simple rhythms
appear interesting and complex when
foot movements, different hand
movements, and voice create a full-
fledged orchestra. A slight change in
one layer creates a completely new
body sensation. This provides the
possibility to practice drum sounds
or rhythm elements over a long time
period without ever getting bored.
This teaching method leads directly
into the art of improvisation. Instead
of learning random patterns, students
understand how archetypal rhythmic
movements are linked together in
music. Creativity evolves when
freedom of expression is rooted in an
archetypal form.
In TaKeTiNa, the art of leading people
into a deep rhythm experience and the
art of drumming complement each
other.
19
7. APPLICATION, INTRODUCTION WORKSHOP, REGISTRATION
7.1. APPLICATION
Please include the following in your
application:
• personal information
• brief history
• photo
You may write about anything that is
of importance to you regarding this
training; also, please include the
following:
• What do you consider your weak
points? What do you consider your
strengths?
• What experience do you have in
dance, meditation, music, or any
other path?
• What is your current profession?
• What is your motivation for applying
for the training?
Please send your application to:
Zorina Wolf, Village Heartbeat,
P.O. Box 60072 |
Palo Alto, CA 94306-0072 USA
20
Zorina will forward your application to not it is advisable to attend the train-
Reinhard and Cornelia Flatischler. All ing at the present time. Applicants will
information provided in your applica- be informed about their admittance to
tion will be kept confidential and your the training on the last day of the
application will be returned to you workshop.
either at the end of the introduction
workshop or at the end of your Date/location for introduction
training. workshop:
• Palo Alto, CA: April 3 – 5, 2009
After you have sent your application,
you will receive confirmation and
7.3. CONTRACT
information to attend the introduction
workshop.
A contract between the applicant and
the organizer stating the rights and
Please make all inquiries and
obligations of both parties will be
requests to:
signed on the last day of the introduc-
Zorina Wolf, Village Heartbeat
tion workshop. A non-refundable
Tel: 650.493.8046, Fax: 650.493.5262
deposit is required at that time. The
E-mail: zorina@villageheartbeat.com
contract will remain in effect through-
out the entire training except in cases
7.2. INTRODUCTION WORKSHOP
of serious illness or death. It is not
possible to attend individual classes or
This training begins with an introduc-
sets; the training must be taken in its
tion workshop in California. This is a
entirety. Applicants will receive a copy
regular, open TaKeTiNa workshop, and
of the contract for their review before
also where the training group begins
the introduction workshop starts.
to take on its form. Therefore, it is
necessary to attend this event. At the
workshop, the leaders will work with
applicants to determine whether or

8.1. ORGANIZATION
Organizer of this training, and all
previous Basic and Advanced
TaKeTiNa Rhythm Teacher trainings is
Zorina Wolf of Village Heartbeat.
Zorina was introduced to the drum
by her longtime mentor/teacher,
drummer Babatunde Olatunji. While
organizing, she was also a student of
the first Basic and Advanced US
TaKeTiNa Rhythm Teacher trainings.
She plans to continue her studies in
the upcoming International Senior
Training.
Please contact the organizer for any
questions concerning organizational
matters (see section 7.1).
8.2. INFORMATION
There will be a free informational
evening with Reinhard and Cornelia
Flatischler prior to the training. They
will introduce working methods of the
TaKeTiNa process and answer ques-
tions you might have about the train-
ing.
8. ORGANIZATION, LOCATION, FINANCES,
TIME FRAME
• San Francisco Bay Area:
November 8, 2008, 8pm.
Palo Alto Women’s Club,
Palo Alto, CA
Other locations will be announced.
8.3. LOCATION
All sets will be held at Still Meadow
Community, 16561 SE Marna Road,
Damascus/Portland, Oregon. Still
Meadow is a quiet place situated in 60
acres of woods and secluded meadow
land, in an atmosphere that supports
healing and renewal, yet it is only 30
minutes from Portland and the
Portland International Airport. There
will be no other group at Still Meadow
while the training sets are scheduled.
This allows students to work in a quiet
place, where they can freely practice
their drums and instruments. Still
Meadow provides clean and comfort-
able rooms, wonderful meals, hiking
trails, and a sauna.
8.4. NUMBER OF PARTICIPANTS
Because of the intensity of the training
there will be a maximum of 30 partici-
pants admitted to the training.
8.4.1 TRAINING COSTS
The fee for the entire training is
$19,920 US; this includes $8,360 for
comfortable lodging with light-
protein/vegetarian meals and $11,560
for tuition/administration. There is a
non-refundable deposit of $3,320
required when the contract is signed.
There are a number of payment plans
available, including the use of charge
cards for a slightly increased fee.
8.4.2 INSTRUMENT PURCHASE
The cost for all necessary instruments
(conga or changgo, surdo, berimbau,
caxixi and grello) ranges from $850 to
$1500, depending on the availability
and quality of the instruments. If
necessary, the instructors or the
organizer will help obtain instruments.
21
8.5. TIME FRAME, SCHEDULE 8.6. DATES:

The training is given in two 15-day sets Introduction Workshop: The TaKeTiNa Rhythm Teacher
per year for three consecutive years Palo Alto Training will put you in the forefront
(total: 90 days of classes). All training April 3 – April 5 2009 in the realm of music education. This
sets will begin at 8pm on the first day training will also develop you as a
and end at 12:30pm on the last day. 1. Training set: competent group leader and musician.
Tuesday, September 29 – Therefore, it will require a regular
• Daily Schedule: Wednesday, October 14, 2009 instrumental practice and frequent
Morning class: 10:30 am - 1:00 pm practice groups. You should be clear
Afternoon class: 3:30 pm - 6:30 pm 2. Training set: about your commitment.
Tuesday, March 30 –
During each set there will be one day Wednesday, April 14, 2010
without classes for integrating and
practicing new material. There 3. Training set:
will also be evening classes/group Tuesday, August 31 –
practices. Wednesday, September 15, 2010

During the course of the three-year 4. Training set:

training, one or the other of the Tuesday, April 5 –
leaders may be leading for the Wednesday, April 20, 2011
entirety of the two-week set.
5. Training set:
Tuesday, August 30 –
Wednesday, September 14, 2011

6. Training set:
Monday, April 2 –
Wednesday, April 18, 2012

Publisher: Village Heartbeat.

Layout and graphic design: M4 Media, Münster, www.m4media.de; Proteus Graphics
Photo credits: Archive TaKeTiNa-Institute, Günther Menzel, Thomas Cuccini, Oliver Werbach
©2008 Reinhard Flatischler. All rights reserved.

TaKeTiNa Homepages: www.taketina.com, www.taketina.net, www.flatischler.com

TAKETINA
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