2.7: Counting Methods
- Page ID
- 258470
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)The goal of any musician is to perform the most accurate representation of the music we are reading, and to do so quickly. On the other side of this, understanding and reading rhythms more clearly will help us to visualize rhythms and be able to write them down or reproduce them when we hear them. There are many different methods of counting and performing rhythms. Some common methods are to use numbers, the Takadimi system, or the Kodály system, but there are others and you may find an alternate method that works better for you.
Numbers
Counting beats and subdivisions with numbers is the most common way to count in music. We count the main beats with numbers. When the beat is divided into two parts, we use the number for the first half and "and" to indicate the second half.
When we need to further indicate a smaller note value and are using sixteenth notes, we add "e" and "a" (uh) on either side of the "and." The plus sign is a shortcut for "and."
Rhythm Syllables
Rhythm syllables give us something to say that helps to differentiate the different parts of the beat or the different types of note values, similar to the solfège system used for pitch classes. There are many different methods of rhythm syllables, and they all have pros and cons. Your instructor will guide you on their preferred method. You might also find that some rhythms lend themselves more easily to one method or another.
Takadimi
The Takadimi system was developed in the 1990s by Richard Hoffman, William Pelto, and John W. White, and shared in the Journal of Music Theory Pedagogy. It essentially mixes ideas from multiple systems and helps musicians to place the note values based on their location within the beat instead of their individual duration. Some of the syllables are similar to those used in North Indian tabla syllables.
| Note Type | Syllable | A full measure of 4/4 |
|---|---|---|
Quarter note ( ) |
ta |
or ta ta ta ta |
Eighth notes ( ) |
ta - di |
or ta-di ta-di ta-di ta-di |
Half note ( ) |
ta - ah |
or ta - ah ta - ah |
Whole note ( ) |
ta - ah - ah - ah |
or ta - ah - ah - ah |
Sixteenth notes ( ) |
ta - ka - di - mi |
or ta-ka-di-mi ta-ka-di-mi ta-ka-di-mi ta-ka-di-mi |
Kodály
Zoltán Kodály's method has been in use for quite some time and tends to be popular for elementary music. There are some similarities between the Takadimi method and the Kodály method. Kodály has a few more pattern-specific syllables than Takadimi.
| Note Type | Syllable | A full measure of 4/4 |
|---|---|---|
| Quarter note () |
ta |
or ta ta ta ta |
| Eighth notes () |
ti - ti |
or ti-ti ti-ti ti-ti ti-ti |
| Half note () |
too |
or too too |
Dotted quarter and eighth ( ) |
tum - ti |
 or tum - ti tum - ti |
| Whole note () |
ta - ah - ah - ah |
or ta - ah - ah - ah |
| Sixteenth notes () |
tika-tika (or tiri-tiri) |
or tika-tika tika-tika tika-tika tika-tika |