Counting (music)
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. 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 and form and often involves subdivision.
Methods
The method involving numbers may termed count chant, "to identity it as a unique instructional process."[1]
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] (presumably saying "up" or "plus" for "+"). 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".[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]
See also
Sources
- ^ Improving Rhythm Reading in Middle School Band, p. 36, Lewis H Strouse, Teaching Music; Apr 2007; 14, 5; ProQuest Direct Complete, pg. 35.
- ^ a b c Blatter, Alfred (2007). Revisiting music theory: a guide to the practice, p.26. ISBN 0-415-97440-2.
- ^ a b Harnum, Jonathan (2004). Basic Music Theory, p.68-70. ISBN 0-9707512-8-1.
- ^ a b 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. ISBN 0-9822533-2-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.