1. The strategy for playing the big board:
1. "Gwa" sound: This is the most common sound produced by the big board. Hold the bottom board with the thumb on one side and the other four fingers on the other side. The holding position is at the lower end of the rope passing through. There should be about half an egg's space between the palm of the hand and the groove on the bottom board. The contact between the palm and the bamboo board should be as close as possible to form a resonance box. When hitting the bottom board with the front board, a "gwa" sound is produced. The grip of the bamboo board should be relaxed to produce resonance.
2. 'Tai' sound: Insert the thumb into the rope attachment, gently clamp the bottom board with the palm of the hand, and loosen the other four fingers. Coordinate the movement of the thumb, rotate the wrist, and strike the bottom board with the lower end of the front board, producing a 'Tai' sound similar to the sound of a small gong in a theatrical instrument.
3. Horse's Hoof Beat: This rhythm is similar to the sound of a horse's hoof walking, producing the sounds of "gu" and "gua". When playing, the right hand holds the bottom of the large board, with the thumb across the top of the hole for threading, and the other four fingers bent along the side of the bottom of the board; the palm is raised, covering the valley of the bottom board (concave surface), forming a "resonance box". By striking the front board with the bottom board, a "gu" dull sound is produced. Then, without changing the palm movement, the thumb and forefinger hold the bottom board in place, the other three fingers spread; the wrist rotates, striking the front board with the bottom board, producing the sound of "gua". It can also be played by just opening and closing the thumb to produce the "gu" and "gua" sounds of the horse's hoof.

Section Two: The Stroke Technique for the Small Board (Jiezi)

1. Basic Stroke: This is the most basic form of the game. Start by standing the tsumiko upright, push the bottom board with your ring finger, use the bottom board to push up the first four boards, making a "di" sound, and when it returns to hit the bottom board, making a "ta" sound. Repeat this process, requiring a uniform speed and a slower pace.

Tick-tock| Tick-tock| Tick-tock| Tick-tock|

2. Single-point technique: Stand the jiézi upright. First, use the bottom board to push up the first four boards, producing a 'di' sound. Then, with the thumb blocking the waist of the jiézi, produce a 'ge' sound. The thumb then uses the force to block the impact back onto the bottom board, producing a 'ta' sound. Repeat this process, ensuring a uniform speed. There are two types: fast and slow, used for different occasions.
Ding-dong|Ding-dong|Ding-dong|Ding-dong|



3. Double beat: A double beat is composed of a single beat plus a basic beat, which is a common rhythm pattern in rapid-fire script. It requires a uniform and stable tempo.

Dit-dah | Dit-dah | Dit-dah | Dit-dah

4. Mix it up: Control the forefinger to maintain a distance from the bottom board and limit the thumb, making the first four boards move back and forth to collide, producing a sound like an old-fashioned train. The rhythm should be clear and stable, with each bar hitting a heavy beat. It is also divided into fast and slow types.
Ding-dong ding-dong | Ding-dong ding-dong | Ding-dong ding-dong | Ding-dong ding-dong|


Practice the Five Skills and Three Techniques of Rapid Fire

To master the various 'board style' techniques, it is essential to strengthen the basic skills training in the three aspects of 'arm', 'elbow', and 'wrist'. The following introduces the basic practice methods of 'Five Skills and Three Techniques':

1. The basic skills of [Jiezi] are divided into five types, namely: '??', 'Liao', 'Dian', 'Yao', and 'Dou'.

（1）??功：将节子立直，食指横穿底板前隙，拇指自然扬起，中指、无名指、小指贴在底板的后侧，随即腕子摇动，用底板撞击前四块板，发出嘀的声音，此动作就像??扇子时手腕摇动一样。??功要求动作自然，每半拍一个声音，速度平稳均匀。

（2）Liao Gong: Based on "Liao Gong", double the speed, use the bottom board to lift the upper board, making a "di" sound, and use this skill to enhance wrist strength.

（3）Dian Gong: Hold the jiezi horizontally, with the thumb on the top of the jiezi, and push the elbow and wrist up to make the jiezi shake, also making a "di′" sound, with the same speed as the Liao Gong.

(4) Shake the skill: Stand the joints up, with the side facing out, and place the thumb on the waist of the first board. Rock the wrist to the left and right, using the bottom board to hit the first four boards, making a "di" sound. When the first four boards are lifted, they are then bounced back by the thumb, making a "ta" sound. Repeat this process, with the first half of the beat being "ta" and the second half being "di", maintaining a uniform speed and not too fast.

(5) Shaking skill: Based on the "Rocking skill," rapidly shake the wrist to continue to make a "Hua..." sound, the speed should be even, and it is important to avoid being too fast or too slow.

2. The basic skills practice of [Dabian] is divided into three types, namely: 'Hold', 'Pick', and 'Swing'.

(1) Holding method: Use the thumb of the right hand as one side and the other four fingers as the other, to hold the bottom board, with the side facing out, holding the position at the lower end of the rope passing through, with a gap of about half an egg between the palm of the hand and the concave groove of the board, and the contact between the palm and the bamboo board should be as close as possible to form a resonance box. The elbow and wrist push forward to hit the front board, making a "gwa" sound. The wrist power is like a fan, the speed is slow and even, and the grip of the bamboo board should be relaxed.

Step 2: Pick method: Insert the thumb through the rope attachment, gently grip the bottom board with the palm of the hand, and relax the other four fingers. Coordinate the movement of the thumb, rotate the wrist, and strike the bottom board with the lower end of the front board, producing a sound of "tai," similar to the sound of a small gong in a theatrical instrument.

Step 3: The 'Yang Fa' technique involves holding the bottom board firmly, then raising your arm upward, causing the front board to rise and flip up parallel to the bottom board with the force of the 'Guan Li'. Then, as the elbow of your arm descends, you make a 'gua' sound, and repeat the movement.

In addition, there is another method that combines the 'tipping' and 'swinging' techniques. Based on the 'tipping' technique, the wrist should be more forceful when turning, hitting the bottom of the racket against the front board to produce a 't' sound, and then swinging the front board up. Then, hit the front board down again to produce a 'gua' sound, and repeat the process.

Exercise 2: Combining hand and mouth movements:

After mastering the single exercises, move on to the composite segment. You can follow the pattern of "数来宝" and "三、三、七" to combine the basic points, and the mantra is: "一二三、三二一、一二三四五六七," with the mind and hands:

Mnemonic: | 1 2 | 3 0 | 3 2 | 1 0 |
节子 ：│ 嗒 嘀 │ 嗒 0 │ 嗒 嘀 │ 嗒 0 │
大板：│ 呱 0 │ 呱 0 │ 呱 0 │ 呱 0 │

The mnemonic device: | 1 2 | 3 4 | 5 6 | 7 0 |
节子 ：│ 嗒 嘀 │ 嗒 嘀 │ 嗒 嘀 │ 嗒 0 │
大板：│ 呱 0 │ 呱 0 │ 呱 0 │ 呱 0 │

Practice Requirements:

(1) Position: When beating the rhythm, "Jiezi" and "Dabang" should be held with the sides facing out, and "Dian" should not exceed the abdomen. During practice, the movement requires stretching, moving freely inside and outside, front and back, left and right, and up and down, laying a good foundation for performance. "Lizhi" and "Pingliao" can advance or retreat to prevent the tendency of a single posture.

Rhythm: Use the speed of a clock as the standard for the beat, 'clock' and 'watch' have differences in their walking speed, and in practice, various speeds can be used to practice the accuracy of rhythm.

(3) Volume: There should be controls for "loud" and "soft". It is necessary to master the five finger functions of the bongo. The functions are: Thumb for blocking, index finger for picking, middle finger for supporting, ring finger for sticking, and little finger for assisting. By cooperating with each other, the five fingers control the volume.