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yeah i do. first, call em tenors, thats what they are, whether its 4 drums or 5, tenors. next, practice. take your sticks, cut out 4 or 5 cardboard circles of different sizes, align them properly (for 5 drums, smallest in the middle, then on its top right is the next smallest, top left is the next, besides the middle on the right is the second biggest ending with the biggest on the left of the middle)(4 drums take out middle and set others same as 5). the middle tom is called a gauk. anyways, when you have the papers set up, practice hitting each one in a desending pitch order, then ascending pitch order. after your comfortable with that, try paradiddles. when you feel comfortable with doin paradiddles on one drum, do a paradiddle where you hit two drums in one motion. that starts a sweep which is really hard. but basically just do as i said, or you can buy a special tenor practice pad, and practice your technique. always remember that practice makes perfect. pirate

Hm, you're a flute player who switched to drums with minimal experience and ended up on tenors?

That's peculiar, because tenor players certainly should be fluent percussionists.

In any case, I have some tips.
First of all: Call them what you want, srsly. My band has 5 drum-tenors. We call them quads, quints, and tenors. They're called quads because they have 4 drums that are tuned to each other, and 0-2 drums that are pitched as high as possible (usually) simply for effect. Quads, quints, tenors, whatever. Means the same thing.

Tips:
Don't rely on melodies around the drums to memorize exercises. Learn them on one drum. In fact, before playing an exercise on multiple drums, you should hack it out on one drum.

My biggest pet peeve for tenor players is not playing in their zones. I've seen tenor lines that take no note for their zones. KNOW THEM.

Those are your zones. It's really easy to forget about them, but if you play within the zones, your drums sound the best. They're pretty much just mini timpani.

Know your rudiments, like the person above said. Paradiddles, double paradiddles, paradiddlediddles, hereta exercises. You will need them for tenors.

Work on your diddles like crazy. Yes, the sustain that you get from tenors can mask faulty diddles, but if you want to pursue tenors, get your diddles open. Ridiculously open. Get them to be even, because when you get to more complicated tenor technique (getting to sweeps/scrapes, crossovers, and the like) If you have your diddles set, you'll have no trouble picking up more advanced techniques.

Again, like the other person above, practice. You need to practice to hope to sound good at all.