"Counting rhythm" redirects here. For other uses, see Counting rhyme.
In music, counting is a system of regularly occurring sounds that serve to assist with the performance or audition of music by allowing the easy identification of the beat. Commonly, this involves verbally counting the beats in each measure as they occur, whether there be 2 beats, 3 beats, 4 beats, or even 5 beats. In addition to helping to normalize the time taken up by each beat, counting allows easier identification of the beats that are stressed. Counting is most commonly used with rhythm (often to decipher a difficult rhythm) and form and often involves subdivision.
The method involving numbers may be termed count chant, "to identify it as a unique instructional process."[1]
Example of "count chant" method
In lieu of simply counting the beats of a measure, other systems can be used which may be more appropriate to the particular piece of music. Depending on the tempo, the divisions of a beat may be vocalized as well (for slower times), or skipping numbers altogether (for faster times). As an alternative to counting, a metronome can be used to accomplish the same function.
Triple meter, such as 3 4, is often counted 1 2 3, while compound meter, such as 6 8, is often counted in two and subdivided "One-and-ah-Two-and-ah"[2] but may be articulated as "One-la-lee-Two-la-lee".[2] For each subdivision employed a new syllable is used. For example, sixteenth notes in 4 4 are counted 1 e & a 2 e & a 3 e & a 4 e & a, using numbers for the quarter note, "&" for the eighth note, and "e" and "a" for the sixteenth note level. Triplets may be counted "1 tri ple 2 tri ple 3 tri ple 4 tri ple" and sixteenth note triplets "1 la li + la li 2 la li + la li".[3] Quarter note triplets, due to their different rhythmic feel, may be articulated differently as "1 dra git 3 dra git".[3]
Rather than numbers or nonsense syllables, a random word may be assigned to a rhythm to clearly count each beat. An example is with a triplet, so that a triplet subdivision is often counted "tri-pl-et".[4] The Kodály Method uses "Ta" for quarter notes and "Ti-Ti" for eighth notes. For sextuplets simply say triplet twice (see Sextuplet rhythm.png), while quintuplets may be articulated as "un-i-vers-i-ty", or other five-syllable words such as "hip-po-pot-a-mus".[4] In some approaches, "rote-before-note",[5] the fractional definitions of notes are not taught to children until after they are able to perform syllable or phrase-based versions of these rhythms.[6]
"However the counting may be syllabized, the important skill is to keep the pulse steady and the division exact."[2]
There are various ways to count rhythm, from simple numbers to counting syllables to beat placement syllables.
Here are a few examples.
Numbers systems
Numbers
Ultimately, musicians count using numbers, “ands” and vowel sounds. Downbeats within a measure are called 1, 2, 3… Upbeats are represented with a plus sign and are called “and” (i.e. 1 + 2 +), and further subdivisions receive the sounds “ee” and “uh” (i.e. 1 e + a 2 e + a). Musicians do not agree on what to call triplets: some simply say the word triplet (“trip-a-let”), or another three-syllable word (like pineapple or elephant) with an antepenultimate accent. Some use numbers along with the word triplet (i.e. “1-trip-let”). Still others have devised sounds like “ah-lee” or “la-li” added after the number (i.e. 1-la-li, 2-la-li or 1-tee-duh, 2-tee-duh).
Example
The folk song lyric "This Old Man, he played one, he played knick-knack on my thumb, with a knick-knack paddy whack, give my dog a bone, this old man came rolling home" in 2 4 time would be said, "one and two one and two one and two and one and two and uh one and two ee and uh one ee and uh two one and two and one and two."
1 e and uh 2 e and uh 3 e and uh 4 e and uh
Traditional American system
Counts the beat number on the tactus, & on the half beat, and n-e-&-a for four sixteenth notes, n-&-a for a triplet or three eighth notes in compound meter, where n is the beat number.[7]
Eastman system
The beat numbers are used for the tactus, te for the half beat, and n-ti-te-ta for four sixteenths. Triplets or three eighth notes in compound meter are n-la-li and six sixteenth notes in compound meter is n-ta-la-ta-li-ta.[7]
Froseth system
Counting system using n-ne, n-ta-ne-ta, n-na-ni, and n-ta-na-ta-ni-ta. All three systems have internal consistency for all divisions of the beat except the tactus, which changes according to the beat number.[7]
Syllables systems
Syllables systems are categorized as "Beat Function Systems" - when the tactus (pulse) has certain syllable A, and the half-beat is always certain syllable B, regardless of how the rest of the measure is filled out.[8]
French system
The "Galin-Paris-Chevé system" or French "Time-Names system", originally used French words. Toward the middle of the 19th century the American musician Lowell Mason (affectionately named the "Father of Music Education") adapted the French Time-Names system for use in the United States, and instead of using the French names of the notes, he replaced these with a system that identified the value of each note within a meter and the measure.[9]
The beat is always called ta. In simple meters, the division and subdivision are always ta-di and ta-ka-di-mi. Any note value can be the beat, depending on the time signature. In compound meters (wherein the beat is generally notated with dotted notes), the division and subdivision are always ta-ki-da and ta-va-ki-di-da-ma.
The note value does not receive a particular name; the note’s position within the beat gets the name. This system allows children to internalize a steady beat and to naturally discover the subdivisions of beat, similar to the down-ee-up-ee system.
Example
The folk song lyric
"This Old Man, he played one, he played knick-knack on my thumb, with a
knick-knack paddy whack, give my dog a bone, this old man came rolling home"
would be said,
"tadi ta tadi ta tadi tadi tadi tadimi
tadi takadi takadimi ta tadi tadi tadi ta."
Examples of simple meter rhythms (Takadimi)
Whole Note = ta-a-a-a
Half Note = Ta-a
Quarter Note = Ta
Two Eighth Notes = Ta-Di
Four Sixteenth Notes = Ta-Ka-Di-Mi
Eighth Rest + Eighth Note = X-Di
Eighth Note + Two Sixteenth Notes = Taaa-Di-Mi
Two Sixteenth Notes + Eighth Note = Ta-Ka-Diii
Examples of compound meter rhythms (Takadimi)
Dotted Whole Note = Ta-a-a-a
Dotted Half Note = Ta-a
Dotted Quarter Note = Ta
Three Eighth Notes Beamed Together = Ta-Ki-Da
Eighth Note + Eighth Rest + Eighth Note = Ta-X-Da
Six Sixteenth Notes = Ta-Va-Ki-Di-Da-Ma
Eighth Note + Four Sixteenth Notes = Ta-aa-Ki-Di-Da-Ma
Four Sixteenth Notes + Eighth Note = Ta-Va-Ki-Di-Da-aa
Two Sixteenth Notes + Eighth Note + Two Sixteenth Notes = Ta-Va-Ki-ii-Da-Ma
Takatiki
This is a beat-function system used by some Kodály teachers that was developed by Laurdella Foulkes-Levy, and was designed to be easier to say than Gordon's system or the Takadimi system while still honoring the beat-function. The beat is said as "Ta" in both duple and triple meters, but the beat divisions are performed differently between the two meters. The "t" consonant always falls on the main beat and beat division, and the "k" consonant is always when the beat divides again. Alternating "t" and "k" in quick succession is easy to say, as they fall on two different parts of the tongue, making it very easy to say these syllables at a fast tempo (much like tonguing on recorder or flute). It is also a logical system since it always alternates between the same two consonants.
Duple meter
Whole Note: Ta-a-a-a (no added accent on each beat)
2 Sixteenth Notes and 1 Eighth Note: Tika-Ti / Tiri-Ti
1 Eighth Note and 2 Sixteenths: Ti-Tika / Ti-Tiri
This system allows the value of each note to be clearly represented no matter its placement within the beat/measure
Example
The folk songlyric "This Old Man, he played one, he played knick-knack on my thumb, with a knick-knack paddy whack, give my dog a bone, this old man came rolling home" would be said, "titi ta titi ta titi titi titi ti-tiri titi tiriti tiritiri ta titi titi titi ta"
Down-ee up-ee
Beats are down, up-beats are up, subdivisions are “ee”
but… need more info!
Example
The folk song lyric "This Old Man, he played one, he played knick-knack on my thumb, with a knick-knack paddy whack, give my dog a bone, this old man came rolling home" would be said, "down up down down up down down up down up down up down up-ee down up down-ee-up down-ee-up-ee down down up down up down up down."
Orff rhythm syllables don't have a specified system. Often, they'll encourage teachers to use whatever they prefer, and many choose to use the Kodaly syllable system.[10] Outside of this, Orff teachers will often use a language-based model in which the rhythms are replaced with a word which matches the number of sounds in the rhythm. For example, two paired eighth notes may become "Jackie" or "Apple." Often, a teacher will stick with a theme and encourage students to create their own words within said theme.[11] Examples include:
1 2 Nokes, Mark (2009). However, when voiced "tri-pl-et" sounds as "tri-plet"; ergo, an extra sound added to the word triplet can be more effective and truly a three syllable word -- "tri-pa-let". Modern Guitar Method: A Practical Approach, p.35. ISBN0-9822533-2-X.
↑ "Effects of Rote versus Note Presentations on Rhythm Learning and Retention", p. 118, Patricia K. Shehan, Journal of Research in Music Education, Vol. 35, No. 2 (Summer, 1987), pp. 117-126.
↑ Gordon (1971) and Bebeau (1982), cited in "A Comparison of Syllabic Methods for Improving Rhythm Literacy", p. 222, Bernadette Colley, Journal of Research in Music Education, Vol. 35, No. 4 (Winter, 1987), pp. 221–235.
The time signature is a convention in Western music notation to specify how many of a particular note value are contained in each measure (bar). The time signature is a notational device representing the meter, an auditory feature of the music.
In music, metre or meter refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer and expected by the listener.
Polyrhythm is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic layers may be the basis of an entire piece of music (cross-rhythm), or a momentary section. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm. Concurrently in this context means within the same rhythmic cycle. The underlying pulse, whether explicit or implicit can be considered one of the concurrent rhythms. For example, the son clave is poly-rhythmic because its 3 section suggests a different meter from the pulse of the entire pattern.
In music and music theory, the beat is the basic unit of time, the pulse, of the mensural level. The beat is often defined as the rhythm listeners would tap their toes to when listening to a piece of music, or the numbers a musician counts while performing, though in practice this may be technically incorrect. In popular use, beat can refer to a variety of related concepts, including pulse, tempo, meter, specific rhythms, and groove.
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In Western musical notation, a dotted note is a note with a small dot written after it. In modern practice, the first dot increases the duration of the basic note by half of its original value. This means that a dotted note is equivalent to writing the basic note tied to a note of half the value – for instance, a dotted half note is equivalent to a half note tied to a quarter note. Subsequent dots add progressively halved value, as shown in the example to the right.
In music, notes inégales is a performance practice, mainly from the Baroque and Classical music eras, in which some notes with equal written time values are performed with unequal durations, usually as alternating long and short. The practice was especially prevalent in France in the 17th and 18th centuries, with appearances in other European countries at the same time. It reappeared as the standard performance practice in the 20th century in jazz. The phrase notes inégales means "unequal notes" in French.
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The Kodály method, also referred to as the Kodály concept, is an approach to music education developed in Hungary during the mid-twentieth century by Zoltán Kodály. His philosophy of education served as inspiration for the method, which was then developed over a number of years by his associates. In 2016, the method was inscribed as a UNESCO Intangible Cultural Heritage.
Tonic sol-fa is a pedagogical technique for teaching sight-singing, invented by Sarah Ann Glover (1785–1867) of Norwich, England and popularised by John Curwen, who adapted it from a number of earlier musical systems. It uses a system of musical notation based on movable do solfège, whereby every note is given a name according to its relationship with other notes in the key: the usual staff notation is replaced with anglicized solfège syllables or their abbreviations. "Do" is chosen to be the tonic of whatever key is being used. The original solfège sequence started with "Ut", the first syllable of the hymn Ut queant laxis, which later became "Do".
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1 2 3 4 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4
Konnakol is the art of performing percussion syllables vocally in South Indian Carnatic music. Konnakol is the spoken component of solkattu, which refers to a combination of konnakol syllables spoken while simultaneously counting the tala (meter) with the hand. It is comparable in some respects to bol in Hindustani music, but allows the composition, performance or communication of rhythms. A similar concept in Hindustani classical music is called padhant.
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Lyric setting is the process in songwriting of placing textual content (lyrics) in the context of musical rhythm, in which the lyrical meter and musical rhythm are in proper alignment as to preserve the natural shape of the language and promote prosody.
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