Today pops and I brought out the shamisen and guitar and spent quite a bit of time finding the connections and planning out how to incorporate it with the Toneway Method!
In short, it went very well. I am going to make a tonal pattern for the shamisen and try making a video to show. 
The only main problem I see is this. For those who don’t know, the Toneway Method was developed as a way to teach people music/instruments as simply as a child would (hence, a method that simply connects tones to the positions on the instrument, no extraneous theory). When we teach this method, we connect it strongly with singing.
Singing is a great joy but singing outside of one’s vocal range is what leads many people to not enjoy it. Thus, since the method is already tone-based, we use this to help people know the key they need to sing songs most comfortably.
Adjusting the key for the most comfortable singing experience is very easy on a guitar (or other) because you can just stick a capo on the neck to simply adjust. Adjusting the shamisen for the most ideal key is a bit more challenging. I mean, fundamentally it’s just a matter of simply lowering or raising the pitch of the strings until the song is most comfortable to sing. Getting in the general area is not so difficult, especially when you “feel it out.” But unlike guitar (or such) which has a standard tuning, introducing people to an instrument where there isn’t a specific standard key (but rather standard tuning), I see that being quite confusing.
Then again, maybe it won’t be confusing. What do you think?
Anyway, for general playing and chords, I think we’re getting a good system worked out. When it comes to easily changing keys for playing with others, that will take some consideration.
For best teachers and best players, they seem to be different sets of people in my experience when it comes to shamisen.
Oh yes indeed! Not just for shamisen, but all musicians and almost any art. That really stuck out to me at the first ShamiCamp. The instructors were incredibly amazing to watch and were very gracious. Just watching their first notes, it was clear that they were the best of the best.
However, what was most interesting was it seemed some had simply forgotten what it was like to be a beginner or intermediate player. Of course, absolutely no disrespect to them. It was just naturally evident that presenting material in a simple and clear form was a very separate skill. That’s why future ShamiCamps consisted of only Bachido Instructors, as we would then be able to hone the material over time.
I recall Reigen Fuji did stuff with chords but I think that was rather advanced (did he develop a new tuning to make chords easier?), there may even be a Bachido lesson about it.
Yes, his lesson was very advanced. In the following ShamiCamps, he’s worked to simplify his material to an intermediate level.
Not sure how hard shamisen actually is to learn to play compared to western instruments, it seems ukulele is a world of difference.
Yeah, I would agree with that. When I talk with my parents about how easy shamisen actually is (you can play a chord with one finger and pick out melodies quite easily), the first thing they mention is the bachi. 
Even though I’m completely used to using the bachi, again it’s important to realize the point of view from someone who hasn’t entered the paradigm.
While the shamisen is almost as easy as the ukulele (ukulele is a bit easier due to the frets and comfy size), the bachi makes it more intimidating to start. I think it’s mostly those who are already in love with the sound who will readily be willing to put in the time to get comfortable with it. To those who are intrigued with the sound but not fully “in love” with it, I often recommend just using the fingernail or plectrum to start with. Once they get comfortable, switching to a bachi could seem less daunting.
Arrangement of Bachido material should be rethought at some point, too.
Ah, do you mean about just Shamisen of Japan or the Crash Course? About the book, I 100% agree. I wrote it at a time when I thought Rokudan was the “basic” song (which is what Kevin taught me). Years later, I made the first version of the Crash Course and showed it to Pops, thinking he’d have no problem. Five minutes later, he handed me the shamisen and said it was too hard for beginners. That’s when the new ‘awakened’ Kyle started to evolve.
Sometimes I think about redoing the book, but the nightmare of reformatting, and discovering new typos and such always discouraged me from making a new edition. I hoped having the Crash Course would alleviate the problems with the book, but it’s true that those who get the book might not notice the Crash Course.
Also most of the learning goes from playing songs solo. In some ukulele lessons they start with chords (guess that’s thought of as an advanced subject here) and strumming (there is just one? video about this on Bachido)! What if people just got some friends and started jamming - ie. ensemble playing and you’re more like the 2nd bass than the solo guitar?
Oh yeah, we were talking about that today! I’m planning to work in bar chords so people can play simple three-chord songs (which consist of several thousand folk songs). Other videos could introduce non-barring chords, (where each string is pressed with individual fingers), but that would be intermediate level. (due to the precision required of making clean chords on a fretless instrument.
Great thoughts!