Count off

Second shortest count off, "& four &", followed by one measure of drum beat for reference. Play (high tom-tom rather than voice)

A count off, count in, or lead-in is a verbal, ^[1] instrumental or visual cue used in musical performances and recordings to ensure a uniform entrance to the performance by the musicians ^[2] and to establish the piece's initial tempo, time signature and style. ^{[3] [4]} Although a count off usually lasts just one or two bars, ^[2] it is able to convey the music's style, tempo, and dynamics from the leader (such as the conductor, bandleader or principal) to the other performers. ^[3] A count off is generally in the same style of the piece of music—for instance, a joyful swing tune should have an energized count off. ^[5] A misleading lead-in, one which indicates a different meter than that of the piece, is a false trail. ^{[6] [7]} Counting off is evident in musical genres other than Western classical and popular music; Ghanaian ethnomusicologist J. H. Kwabena Nketia has observed the benefits of such techniques in West African music. ^[8]

A two-bar percussive and verbal count off played on a closed hi-hat

A silent count off, such as those given by an orchestral conductor using a baton, may be given as a value "in front" (e.g. "eight in front" refers to a count off of eight beats). ^[9]

In recorded music, the final two beats of the count off (one, two, one—two—three—four) are often silent to avoid spill onto the recording, ^{[2] [10]} especially if the piece has a pickup. The count off is typically edited out after the recording has finished. ^[11] There are, however, instances where the count off is deliberately kept on a recording—sometimes even edited onto a recording. In the case of "I Saw Her Standing There" by The Beatles, the count off was edited onto a different take of the song. ^[12] A recorded count off can be made by musicians through an open microphone or through the studio's talkback system, ^[13] the latter being done by non-performing personnel such as the producer or engineer. The inclusion of a count off in a studio recording may give the impression of a live performance, as on the Beatles' "Sergeant Pepper's Lonely Hearts Club Band Reprise" (1967). ^[6]

Pre-count ^[14] and count-off ^[15] are functions of digital audio workstations which give an amount of click track—typically two bars ^[15] —before the recording begins.

Examples

• "Let's Dance" by Chris Montez (1962)
  • The song's verses accent upbeats on beats 1 and 3 and vice versa for the rest of the song, so drummer Jesse Sailes counts it off as "one—two—one, two, three".
• "I Saw Her Standing There" by the Beatles (1963)
  • Paul McCartney's count off of "one—two—three—four!" was recorded on the ninth take of the song, and then edited on to a different take comprising the rest of the song; ^[16] George Martin liked the "spirited" raw live feel of the count off and decided to have it spliced onto a better performance.
• "Wooly Bully" by Sam the Sham and the Pharaohs (1965)
  • The song features a bilingual count off of "uno, dos, one, two, tres, cuatro". ^[17]
• "Taxman" by the Beatles (1966)
  • George Harrison performs two count offs on the track—one is to set the tempo (and is most audible on the fourth beat), and another is for effect (it is off-tempo, "secretive-sounding", and layered with coughing) which was added later. ^[18]
• "A Day in the Life" by the Beatles (1966)
  • John Lennon used a droll count off of "sugarplum fairy, sugarplum fairy"; the count off was not part of the take included on the album version (on Sgt Pepper's Lonely Hearts Club Band ) but was first released on Anthology 2 in 1996. ^[19]
• "Give Peace a Chance" by John Lennon and the Plastic Ono Band (1969)
  • The version recorded for the Live Peace in Toronto 1969 album features Lennon beginning with a count off in German: "eins, zwei, ein—zwei—drei—vier". ^[20]
• "Get Up (I Feel Like Being a) Sex Machine" by James Brown (1970)
  • The song begins with a few seconds of spoken dialogue, which Brown ends by saying "can I count it off? One—two—three—four!"
• "I Don't Wanna Face It" by John Lennon (1984)
  • The third track from Lennon's posthumous Milk and Honey album features a "characteristically free-form" count off of "un, deux, eins—zwei—hickle—pickle". ^[21]
• "Patience" by Guns N' Roses (1988)
  • The song begins as bass guitarist Duff McKagen gives out the count off. "One, two, one, two, three, four".
• "You Get What You Give" by the New Radicals (1998)
  • Gregg Alexander counts the song off with "one, two, one–two–three–OW!" ^[22]
• "Lonely Swedish (The Bum Bum Song)" by Tom Green (1999)
  • The count off happens mid-song after the bridge and before the final chorus. "One, two, three, four".
• "Son Song" by Soulfly featuring Sean Lennon (2000)
  • The song begins with a count off by Lennon. "One, two, three, four".
• "You'll Never Meet God (If You Break My Heart)" by Carly Hennessy (2001)
  • Co-written by the New Radicals' Gregg Alexander, the song echoes his introduction to 1998's "You Get What You Give" with a count off of "one, two, one–two–three–OW!" ^[22]
• "Vertigo" by U2 (2004)
  • During the final two bars of a four-bar drum introduction Bono counts off the song with "unos, dos, tres, catorce" – Spanish for "some, two, three, fourteen". ^{[23] [24] [25]}

See also

• Upbeat

References

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2. "Count off (Count in)". Sweetwater. Retrieved 12 February 2013.
3. Dunscomb, J. Richard; Willie L. Hill (2002). Jazz pedagogy : the jazz educator's handbook and resource guide. Van Nuys, CA: Alfred Publishing Co. p. 157. ISBN   0-7579-9125-4.
4. Vradenburg, written by Wilbur M. Savidge, Randy Lee (2001). Everything about playing blues (1st ed.). Springtown: Praxis. p. 40. ISBN   1-884848-09-5.
5. Weir, Michele (2005). Jazz singer's handbook : (the artistry and mastery of singing jazz; includes jazz standards recorded by Chet Baker ...). Van Nuys, CA: Alfred Publishing Co. p. 76. ISBN   0-7390-3387-5.
6. Shepherd, John (ed.) (2003). "Lead-in", Continuum Encyclopedia of Popular Music of the World: Part 1 Performance and Production, p.610. ISBN   978-0-8264-6322-7.
7. Van Der Merwe (1989), p.157. Cited in Shepherd (2003).
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11. Everett, Walter (2009). The foundations of rock from "Blue suede shoes" to "Suite : Judy blue eyes". Oxford: Oxford University Press. p. 353. ISBN   978-0-19-971870-2.
12. Lewisohn, Mark (1988). The Beatles recording sessions (1st ed.). New York: Harmony Books. p. 9. ISBN   0-517-57066-1.
13. Hurtig, Brent (1988). Multi-Track Recording for Musicians. Van Nuys, CA: Alfred Publishing Co. p. 90. ISBN   1-4574-2484-3.
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15. Barrett, Don (2009). Digital Performer 6 power! : the comprehensive guide (Guide (Instructor's) ed.). Boston, MA: Course Technology Cengage Learning. p. 115. ISBN   978-1-59863-907-0.
16. Everett, Walter (2001). The Beatles as musicians the Quarry Men through Rubber soul . New York: Oxford University Press. p.  34. ISBN   0-19-534972-5.
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18. Everett, Walter (1999). The Beatles As Musicians:Revolver through the Anthology. Oxford: Oxford University Press. p. 34. ISBN   0-19-988093-X.
19. Marinucci, Steve. "'The Making of Sgt. Pepper' paved the way for 'Beatles Anthology'". Examiner. Archived from the original on 4 March 2016. Retrieved 12 February 2013.
20. Bardola, Nicola (2010). John Lennon : Wendepunkte (1. Aufl. ed.). Zürich: Römerhof-Verlag. p. 160. ISBN   978-3-905894-07-3.
21. Urish, Ben; Bielen, Ken (2007). The words and music of John Lennon (1st publ. ed.). Westport, Conn. [u.a.]: Praeger. p. 88. ISBN   978-0-275-99180-7.
22. Collar, Matt. "Carly Hennessy—Ultimate High". AllMusic . Retrieved 14 September 2014.
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24. Díaz, Itxu (2005). Haciendo Amigos. Ediciones DaylNet. p. 84. ISBN   84-611-1498-1.
25. Kootnikoff, David (2012). Bono : a biography. Santa Barbara, Calif.: Greenwood. p. 140. ISBN   978-0-313-35509-7.