#1
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Counting notes
For eighth notes I count "1 and 2 and 3 ......"
For triplet eight notes it's "1 triplet, 2 triplet..." Sixteenth notes= 1e and a 2 e .... How would you count 32 notes? |
#2
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1-ee-and-uh-one-ee-and-uh / 2-ee-and-uh-two-ee-and-uh / 3-ee-and-uh-three-ee-and-uh...
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Resources for nylon-string guitarists. New soleá falseta collection: http://www.canteytoque.es/falsetacollectionNew_i.htm |
#3
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I might change the time signature in my head and count them as 16ths (1,2,3,4). I'm doing something similar now with a ragtime tune that is written in cut time, turning 16ths into eighth notes for counting purposes. 4/4 just seems easier to me.
I had a band teacher in jr. high school who had some crazy ways to count. 4 sixteenth notes followed by two eighth notes was "Mississippi Down Up."
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Bob https://on.soundcloud.com/ZaWP https://youtube.com/channel/UCqodryotxsHRaT5OfYy8Bdg |
#4
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ha-ta-mo-to-2-ta-mo-to
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#5
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Quote:
I know how triplets and 16ths sound, I don't see the need to verbalise them. I feel them. Of course I can hear and feel straight 8ths too, and I might occasionally verbalise them as "one and two and..." etc, but only when teaching. Not when playing or learning a piece! I really can't see the point, and never have. For me, verbalising a count is using a different part of my brain from the part that understands (feels) time. IOW, if I count - either in my head or out loud - I can't play as well. I'm more likely to visualise beat subdivisions, i.e., like a ruler marked in 16ths or 32nds of an inch. You don't label the markings on a ruler with words or syllables! You just see them, and their position within the inch (and the larger subdivisions) is obvious. For me, musical time works like that. As for 32nds, I never play them, certainly not in runs. In the music I play, they only ever occur occasionally as embellishment within other subdivisons, but then the larger subdivisions dominate. 32nds are just the "notes in between the 16ths", same as 16ths are the "notes between the 8ths".
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#6
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I don't count 16th notes and beyond.
For triplets, I was taught to count tri-poe-let. |
#7
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For triplets I must have been taught something but can't remember what but when I started
relying more on playing by ear I thought Fats Domino and his piano playing on Blueberry Hill. Last edited by Andyrondack; 04-08-2021 at 04:59 AM. |
#8
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Thanks everyone. After spending some time with it, I think I got it down.
I turned on my metronome at 60bpm, and started tapping 16th's with my right hand. Then I responded with my left hand also tapping in 16th's sub accents in alternating fashion. So that should be in 32's right? Hope that makes sense. I understand how some don't count 32's, it's just too wordy. Guess I just needed a starting point. |
#9
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Quote:
Quintuplets are about the only “common” time value for which I sometimes have to resort to a counting method, but I don’t use syllables. I’ll either mentally count “1-2-3-4-5” or think of how a two-fingered slur on an open string sounds (0-2-4-2-0) or how a four-finger rasgueado sounds (e-a-m-i-i).
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Resources for nylon-string guitarists. New soleá falseta collection: http://www.canteytoque.es/falsetacollectionNew_i.htm |
#10
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Some of the music I have tabbed out with the timing I use when playing it is way beyond counting out the details. Sometimes you just
have to hear the music played (an advantage of tabs that can do that).
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#11
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Sure. I only meant that I visualise time in that way - like a clock face turned into a straight line (and infinite length). I see musical time as a series of regular steps, and then see how all the beat divisions fall into it.
I mean, I feel it first, as sounds in time, but if I have to conceptualise it in any other way (and I don't often), then it's like a ruler. To me, that's far more intuitive than counting using words. I do agree with konnakol syllables though - that avoids the superfluous meanings of words like "one", "and", or "triplet" (which involve the wrong part of the brain), in order to concentrate purely on rhythmic sounds. Quote:
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#12
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Thanks, Jon. Actually, after I posted that message, it occurred to me that I don't really know whether or not the OP was referring to interpretation of written music. Certainly, there's no place for counting when performing. Maybe for some kind of long rest, but not within a single beat. I usually resort to some kind of counting when writing out music, as a means of double-checking my work, or to decipher a particularly odd-looking score.
__________________
Resources for nylon-string guitarists. New soleá falseta collection: http://www.canteytoque.es/falsetacollectionNew_i.htm |
#13
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Quote:
A traditional clock face is a ruler(rule) divided into 12 equal spatial distances, it does not measure time, or space but velocity, it is a speedometer measuring the speed which the hour hand completes a circuit relative to the time it takes the earth to revolve in space. 24 hours a day = 24 units of space on the clock face divided by the time it takes the earth to complete 1 revolution, a clock is a speedometer this logic lead Einstein to formulate his special theory of relativity where measurements of space and time are linked as different ways of describing the same phenomena. A metronome is another kind of speedometer, it measures space÷time . Last edited by Andyrondack; 04-13-2021 at 05:09 AM. |
#14
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Quote:
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Resources for nylon-string guitarists. New soleá falseta collection: http://www.canteytoque.es/falsetacollectionNew_i.htm |
#15
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Interestingly, Gerhard Graf-Martinez's flamenco materials teach rhythms using--you guessed it--a clock.
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