Rhythm counting systems: what they are, how we use them, and why might we choose one over another. We break down the plethora of approaches (including 1-e-&-a, Takadimi, Gordon, Kodály, and Orff) into groups, and share tips from our own experience teaching these from preschool to college.
Links:Free Printable Rhythm Resources on uTheory
Eastman/1-ti-te-ta Counting System
Traditional American/1-e-&-a Counting System
Varley, Paul. An Analysis of Rhythm Systems in the United States: Their Development and Frequency of Use By Teachers, Students and Authors. (Ed.D Dissertation, UMSL, 2005)
Show Notes:0:30 Introductions
01:20 What are counting systems? What ones do you use?
03:05 Kinds of Counting Systems: Analytical/Metric Subdivisional vs Mnemonic
04:45 1e&a/Eastman/Traditional American approaches
06:11 Gordon Rhythmic Solfege
07:55 Takadimi
10:11 Mnemonic/Pattern-based/rhythm word approaches (Orff)
14:00 Note-syllable approaches (Kodály)
16:00 Kinesthetic Approaches (Dalcroze)
17:35 What are shared goals of counting systems?
19:40 Conceptualizing rhythm as existing within a metric grid, rather than as the addition of longer- and shorter-duration notes
21:22 How do you use these systems when you're teaching?
24:00 Role and value of using rote teaching with rhythm
25:50 Teaching the reading of rhythm using counting systems
29:23 Value of using multiple approaches: using both a subdivision & pattern-based system, and with each system varying the kind of activities and engagement
31:45 Teaching dictation using rhythm counting systems
33:00 Protonotations ("Box approach", "Beat sheets", drawings, symbols, etc...)
35:45 Call and response exercises
37:55 What are strengths/weaknesses of analytical-subdivisional approaches and mnemonic/pattern-based approaches?
43:50 Creating a sense of meter, especially in systems that don't make them explicit
49:30 A shared goal with pitch solfege systems is to learn a rhythmic system so well that in the end, we don't need it at all
51:40 Challenges of analytical/subdivisional systems
53:50 Wrap-up
Transcript[theme music]
0:00:20.3 Leah Sheldon: Welcome to Notes from the Staff, a podcast from the creators of uTheory, where we dive into conversations about music theory, ear training and music technology with members of the uTheory staff and thought leaders from the world of music education. I'm Leah Sheldon, head of teacher engagement for uTheory.
0:00:37.3 Greg Ristow: And I'm Greg Ristow, I'm an associate professor of conducting at the Oberlin Conservatory and the founder of uTheory.
0:00:43.1 David Newman: And I'm David Newman, I teach voice and music theory at James Madison University and I write code and create content for uTheory.
0:00:50.6 GR: Our topic today is one that several of you wrote in to say you would love to hear. Shoutouts to Noel Warford, Michael Joviala and Maddy Tarantelli, in particular.
0:00:58.9 LS: We'll be talking about counting systems or rhythm systems, which are basically solfège systems for counting rhythms.
0:01:05.6 DN: There are a lot of systems, but we'll break them down into categories and give examples of why you might use one or more of these to help teach rhythm.
0:01:14.3 LS: We've also got links in the show notes to helpful references, including printable rhythm system resources you can find at utheory.com/teach/resources.
0:01:24.9 GR: So, yeah. Let's dive in. What is a counting system? Probably many of us have had encounters with these growing up. The most common is, in America at least, is probably the 1-e-&-a, 2-e-&-a approach. So yeah, so what are these? Why do we use these? And I wonder, what systems do you use, Dave and Leah?
0:01:45.7 DN: Well, when I started teaching aural skills, I didn't use any system at all, I definitely used a version of counting in college when I was learning. Mostly in choir though. Then we switched to Takadimi at James Madison University. And then recently we have switched to what we're calling the Eastman System, which is 1-e-&-a and 1-la-li, 2-la-li. I guess that's not really the Eastman System, but it's some hybrid. [laughter]
0:02:19.4 GR: Yeah, yeah. Yeah, totally. I think it's probably... On
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