5.3: Counting Systems

There are several different counting systems in use. They exist to aid both in counting and in time-keeping. The system used in aural skills may vary depending on the college or university you choose. This is certainly a question you could ask when you visit. Fortunately, it is not only easy to switch back and forth between each, but actually beneficial for you as a future teacher. On the pages that follow, you will be introduced to Gordon’s Music Learning Theory, the Kodály method, Orff principles, the Eastman system,
Takadimi, and (of course) the traditional numbers counting method. You will likely recognize some of these from your music classes at school.

Music Learning Theory

Edwin E. Gordon, former professor at Temple University in Philadelphia, founded the Gordon Institute of Music and created Music Learning Theory. Gordon was a highly published and well-respected leader in the world of music education research as well as the creator of many standardized tests for music aptitude and music achievement.

Gordon Rhythm Syllables

Gordon’s Music Learning Theory is an all-inclusive method for teaching musicianship that has as its cornerstone audiation, or the ability to hear the music in your mind. The system employs the use of patterns to practice “sound before symbol.” It is concerned with beat function rather than notation/note values. In other words, he promoted “rote before note” by focusing on what you hear (“du” signals the beginning of a beat, which might be divided into two or four) rather than what you see (half note = two beats — which isn’t even always true!). Remember, it is important to be able to hear, not just decode.

Kodály

Developed in Hungary in the early 20th century, composer Zoltan Kodály originally designed this system to create a national curriculum for his country so that all students would continue to learn national folk songs and be learning the same skills in their music classes even if they moved to a new school or new city.

Kodály Rhythm Syllables

You may have been introduced to ta and ti ti in your elementary music classroom experience. Here, the syllables are assigned to specific note values (in other words, ta = quarter note and ti = eighth note). It is an aural (relating to the ear) system that focuses on beat division. Some teachers still use these syllables at the elementary level, but it is not sophisticated enough to take a student through the more complicated rhythms they may later encounter in high school and collegiate programs. Books published in recent years show that Kodály practitioners have embraced Takadimi.

Orff

Orff practitioners often use the rhythm of language in their teaching because singing, speaking, and movement are all naturally connected and a developmentally appropriate step in music learning. For example, eighth notes may be “ap-ple ” and sixteenth notes “wa-ter-me-lon.” The natural flow of language makes it easy for young students to feel the stress and perform rhythms before reading notation. Like Gordon and Kodály, it is a beat-based system. Unfortunately, apple, berry, Peter, water, and carrot all = two eighth notes, so while there is value in being able to get to music making quickly, so many labels for the same rhythm may cause confusion as students progress in their training.

Eastman System

As you may have guessed, the Eastman System was designed at Eastman School of Music in New York. It employs both numbers and syllables. Here are the five rules of the system:

1. All notes on a beat get the beat number.
2. Notes on the upbeat are “te.”
3. A note on the second third of a beat is “la” and a note on the third third of a beat is “le.” (triplets go “…la le.”)
4. A note on the second fourth of a beat is “ti.” (sixteenth notes are “…ti te ta.”)
5. All other notes are “ta.”

Numbers

Our guess is that you’re already familiar with this one! The tradition of numbers, developed in American public schools, is still the most common method in use. This system focuses on counting the beats within a measure and is found in many band/orchestra series books and beginning piano books. This system focuses on sight before sound and unfortunately, does not necessarily begin with aural understanding as with Takadimi.

“Traditional” Numbers

Takadimi

Designed by Hoffman, Pelto, and White in 1996, this system has been taken to new heights by Dr. Carol Krueger. Her book, Progressive Sight Singing, and accompanying online materials are valuable resources (that we’ll help you find later in the book)! Takadimi has been referred to as a “womb to tomb” system because it can be used by the very young and never “breaks,” no matter how complex the rhythm becomes.

Simple Takadimi Syllables

Compound Takadimi Syllables

In this system, syllables are assigned to a location within a beat. The syllables were drawn from the vocalizations used for the division of a pulse in North Indian tabla playing. Ta is always on the beat and di is the second half of the beat. When the beat is subdivided into four parts, ta and di are in the same place, but the subdivisions are labeled with ta-ka-di-mi. In compound meter, when the beat is divided into three, there are three syllables: ta (which is still on the beat), ki and da (see above).

Takadimi is beat-oriented rather than notation-based. It’s an aural system, which works well because music is an aural art. Our ears need to make sense of it before we can begin to understand notation. It’s about note relationships. Syllables are not symbol-specific. Ta is not always the quarter note; the beat might be the eighth note or the half note, etc. For example, the time signatures \(2 \atop 4\) and \(2 \atop 2\) sound the same. In compound meter, ta = the dotted eighth. If you were like us, you were taught that \(6 \atop 8\) time = six beats per measure and the eighth note gets the beat. That’s not how music works! In \(6 \atop 8\), there are two beats in a measure and each beat is divided into three.

Many band and orchestra directors prefer the numbers system. Takadimi, however, lends itself easily to tonguing and vowels that promote an open throat. Students comfortable with Takadimi can easily translate to numbers when it comes time for band. It is very easy to replace ta with the number of the beat when and if the placement of the beat within a measure becomes important. There is one instrumental lesson book series that employs sound before sight using Takadimi: Jump Right In. It was designed by none other than Edwin Gordon and has been carried on by professors at the Eastman School of Music.

Comparing the Systems

No matter what system you use, you will benefit from getting your body involved and practicing in a variety of different ways. For example, you could pat the beat while speaking the syllables. Trying walking the beat while clapping the rhythm. Conduct while you tap with the other hand. The way to master this skill is through effective drill! The good news is there are really relatively few rhythmic patterns to learn. The Takadimi illustration shows almost all of the possibilities within one beat. Melodic patterns are another story…