Music Analysis Showdown: Mapping Tonal Harmony Pro vs ChatGPT

We compare and analyze Mapping Tonal Harmony Pro and ChatGPT‘s abilities in music theory and technology. We demonstrate how each tool can be used to understand harmonic progressions in jazz and compare their accuracy, speed, and ease of use. This video is perfect for musicians, composers, and music educators looking to enhance their understanding of music harmony. Let’s dive in and see what these tools have to offer!

We ask ChatGPT to do a roman numeral harmonic analysis of the jazz standard “All Of Me”

We started with a text version of the song and fed it into Mapping Tonal Harmony Pro’s Analyzer:

|Cmaj7 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – ||E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||Cmaj7 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – ||Fmaj7 – – – | Fm6 – – – | Em7 – – – | A7b9 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

Here’s what we got with the Analyzer in Mapping Tonal Harmony Pro:

And here’s our conversation with ChatGPT:

What is Mapping Tonal Harmony Pro?

Mapping Tonal Harmony Pro is a music theory software that helps users learn and understand the principles of tonal harmony in a graphical and interactive way. The program provides a visual representation of harmonic structures, including chord progressions, voice leading, and cadences, among other features. It is designed for music students, composers, and educators as a tool to enhance their understanding of traditional harmony and composition.

How does the map in Mapping Tonal Harmony Pro work?

The map in Mapping Tonal Harmony Pro is a visual representation of tonal harmony that helps users understand and analyze harmonic structures in music. It displays a series of interconnected circles and arrows, each representing a different chord, progression, or relationship between chords. The map is interactive, allowing users to see the connections between different chords and progressions and how they function within a tonal context. By exploring the map, users can gain a deeper understanding of traditional harmony and how it informs the structure and design of musical compositions.

Here’s the harmonic progression for All Of Me|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |Can you give me a full harmonic analysis of the song?

A full harmonic analysis of a song involves analyzing its chord progression, tonality, key, and function of each chord. It can be quite in-depth and detailed, and typically requires a comprehensive understanding of music theory. However, I can provide you with some basic information on the chords you listed:

The chords in the progression are primarily dominant 7th chords, with the exception of C6, F6, Fm6, Cmaj7, Em7b5/Bb, and Dm7.The tonality of the song is predominantly minor, as indicated by the use of the dominant 7th chords and the presence of the minor 7th chords (Dm7, Am7).The key of the song is not explicitly specified, but the chords suggest it is in a minor key.The function of each chord in the progression helps to create a sense of tension and resolution. For example, the dominant 7th chords create tension, while the resolution is achieved through the use of the more stable minor 7th chords.

Keep in mind, this is just a basic analysis and does not cover all aspects of the song’s harmony. A more comprehensive analysis would require a deeper understanding of the theory behind the chord progression and the relationships between the chords.

Try creating a harmonic analysis of the following progression:|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – |

| Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

This chord progression is from the jazz standard “All of Me” and is a good example of a ii-V-I progression in a minor key.

The progression starts with a C6 chord, which serves as a tonic chord, establishing the key of the song.The E7b9 chord is a dominant chord resolving to the A7b9 chord, which is also a dominant chord. These chords form a ii-V progression in the key of A minor.The Dm7 chord is a tonic chord in A minor and the progression moves back to a ii-V progression with the E7b9 and A7b9 chords.The Am7 chord is a tonic chord in A minor and the progression moves to a ii-V-I progression with the D7, Dm7, and G7 chords. This progression is in the key of G minor.The progression continues with a similar pattern, with ii-V-I progressions moving through various keys, and eventually resolving back to the tonic chord, C6.

The progression makes use of altered chords, such as E7b9, A7b9, and Em7b5/Bb, to add a chromatic and dissonant element to the harmony. The F6 and Fm6 chords also provide some harmonic interest, as they are not typically found in a ii-V-I progression.

Show me the roman numerals analysis of:|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

This chord progression can be analyzed using roman numerals as follows:

|C6 – – – | – – – – | E7b9 – – – | – – – – ||I – – – | – – – – | IV7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – ||V7b9 – – – | – – – – | ii7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || IV7b9 – – – | – – – – | ii7 – – – | – – – – || D7 – – – | Dm7 – – – | G7 – – – ||V7 – ii7 – | V7 – I – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || IV – ii°7/IV – | III°7 – V7/ii – | ii7 – V7 – || C6 – Ebo7 – | Dm7 – G7 – ||I – III°7 – | ii7 – V7 – |

In this analysis, the chords are labeled with their corresponding roman numeral based on their function in the key. Upper case numerals are used for major and dominant chords, while lower case numerals are used for minor chords. The 7b9 and 7°5 chords add additional chromaticism to the harmony.

That’s not the correct analysis. Are you aware of secondary dominants, and how to label them?

Yes, I am aware of secondary dominants. In tonal music theory, a secondary dominant is a dominant chord (typically V7) that leads to a chord other than the tonic (I). This can add additional harmonic tension and instability, which can be resolved by resolving to the target chord.

In the chord progression you provided:

|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

The secondary dominants can be indicated by labeling the chords with their corresponding roman numerals, followed by a slash and the chord they are resolving to:

|C6 – – – | – – – – | E7b9 – – – | – – – – ||I – – – | – – – – | V7/IV – – – | – – – – || A7b9 – – – | – – – – | ii7 – – – | – – – – ||V7/IV – – – | – – – – | IV7 – – – | – – – – || E7b9 – – – | – – – – | ii7 – – – | – – – – || V7/IV – – – | – – – – | ii7 – – – | – – – – || D7 – – – | ii7 – – – | V7 – – – ||V7 – ii7 – | V7 – I – || F6 – – – | ii°7/IV – | IV – V7/ii – | ii7 – V7 – || I – ii°7 – | IV – V7 – | ii7 – V7 – |

In the key of C major, E7b9 is not the V7/IV. What is it?

In the key of C Major, E7b9 is not the V7/IV. It is an altered dominant chord, most likely functioning as a secondary dominant, resolving to the tonic of the ii chord (Am7) or as a chord substitution for the V7 chord (B7). Its function can be determined by the context of the progression and the melody.

But the Am7 is not the ii chord in the key of C major. Do you know what it is?

My apologies, you are correct. Am7 is not the ii chord in the key of C Major. It is the vi chord, often functioning as the tonic of a vi-ii-V-I progression in C Major.

That’s closer. But the Am7 is not the tonic if it is the vi chord. It is just a good substitution for the tonic. Do you know what a chord substitution is?

Yes, I am aware of chord substitutions. A chord substitution is a chord that is used in place of another chord in a chord progression to create a different sound or to better support the melody. In this case, Am7 is being used as a substitution for the tonic chord (C Major) in a vi-ii-V-I progression in the key of C Major.

Very good. So what’s E7b9 in the key of C major?

In the key of C Major, E7b9 is an altered dominant chord, typically functioning as a secondary dominant, resolving to the tonic of the ii chord (Am7) or as a chord substitution for the V7 chord (B7). The b9 added to the dominant E7 chord creates a sound of tension, which is then resolved by the following chord.

That’s wrong! Listen, the E7b9 is the V7b9/vi. E7b9 is the V7 of the Am. And Am is the vi of C. So E7b9 is a secondary dominant that resolves to Am, the vi in the key of C major. Am is acting as a tonic chord, substituting the C, which is the I, the tonic.

I apologize, you are correct. The E7b9 is indeed the V7b9/vi, which functions as a secondary dominant of the vi chord (Am7) in the key of C Major. Thank you for correcting me.

So what is E7b9 in the key of C major

In the key of C Major, E7b9 is a secondary dominant chord, also known as V7b9/vi, which functions as a chord substitution for the V7 chord (B7) in the progression. It resolves to the vi chord (Am7) acting as the tonic, substituting the I chord (C Major). The added b9 to the E7 chord creates a sound of tension, which is then resolved by the following chord.

Much better! But you got something wrong: E7b9 is not a chord substitution for the V7 (B7). It is a secondary dominant. The V/vi.

I apologize, you are correct. E7b9 is a secondary dominant chord, not a substitution for the V7 chord (B7) in the key of C Major. It is the V7b9/vi and serves to temporarily tonicize the vi chord (Am7) before resolving back to the I chord (C Major). Thank you for pointing this out.

Now, what is an E7b9 in the key of C major?

In the key of C major, the E7b9 chord is a secondary dominant, also known as V7b9/vi, meaning the dominant 7th chord built on the fifth degree of the vi chord (Am in this case). It creates tension and leads the listener’s ear towards the resolution to the vi chord (Am).

Very good. So what is the roman numerals analysis of this progression:|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

The roman numerals analysis of the progression is:

|I6 – – – | – – – – | V7b9/vi – – – | – – – – || vi7b9 – – – | – – – – | ii7 – – – | – – – – || V7b9/vi – – – | – – – – | vi – – – | – – – – || IV7 – – – | – – – – | ii7 – – – | V7 – – – ||I6 – – – | – – – – | V7b9/vi – – – | – – – – || vi7b9 – – – | – – – – | ii7 – – – | – – – – || bIII6 – bIII7 – | IVm7 – bII7/IV – | I – ii7b5/IV – | V7 – – – || ii7 – V7 – | I6 – V7/IV – | ii7 – V7 – |

That’s better. But now, the A7b9 in measure 5 is not a vi7b9. There’s no such chord. A7b9 is another secondary dominant. It is the V7/ii

I apologize, you are correct. The roman numeral analysis of the progression would be:

|C6 – – – | – – – – | V7b9/vi – – – | – – – – || V7b9/ii – – – | – – – – | ii – – – | – – – – || V7b9/vi – – – | – – – – | vi – – – | – – – – || IV7 – – – | – – – – | ii – – – | V7 – – – ||C6 – – – | – – – – | V7b9/vi – – – | – – – – || V7b9/ii – – – | – – – – | ii – – – | – – – – || iii – iii° | vi° – – – | I – ii°7/bV – | V7 – – – || ii – V7 – | V7 – – – | I – V7/ii – | ii – V7 – |

Way better. But the D7 in measure 13 is not a IV7. A IV chord in C major is F not D, and although the IV7 exists in Blues progressions, that’s the wrong answer, because D is the ii in the key of C major. But a ii chord is minor, and this is a D7, which is a dominant chord. So your best bet is to think of it as a secondary dominant. So if the D7 is a secondary dominant, how would you write it using roman numerals?

The D7 in measure 13 can be written as V7/V.

Excellent! So what is the roman numerals analysis for the following progression:|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

SOMETHING WENT WRONG….

What is the roman numeral analysis of the following harmonic progression:|C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || E7b9 – – – | – – – – | Am7 – – – | – – – – || D7 – – – | – – – – | Dm7 – – – | G7 – – – ||C6 – – – | – – – – | E7b9 – – – | – – – – || A7b9 – – – | – – – – | Dm7 – – – | – – – – || F6 – – – | Fm6 – – – | Cmaj7 – Em7b5/Bb – | A7 – – – || Dm7 – – – | G7 – – – | C6 – Ebo7 – | Dm7 – G7 – |

The roman numeral analysis of the progression is:| VI7b9 – – – | – – – – | II7b9 – – – | – – – – || IV7b9 – – – | – – – – | iiø7 – – – | – – – – || II7b9 – – – | – – – – | viø7 – – – | – – – – || V7 – – – | – – – – | iiø7 – V7 – | I6 – – – || VI7b9 – – – | – – – – | II7b9 – – – | – – – – || IV7b9 – – – | – – – – | iiø7 – – – | – – – – || III6 – iii6 – | I7 – viiø5/V – | IVmaj7 – vi7b5/II – | III7 – – – || iiø7 – V7 – | I6 – V7b9 – | iii6 – V7 – | iiø7 – V7 – |

What’s going on? That’s completely wrong. Have you forgotten everything I told you? Can you try again?

My apologies, let me try again. Here’s the corrected roman numeral analysis of the progression:| VI7b9 – – – | – – – – | II7b9 – – – | – – – – || IV7b9 – – – | – – – – | iiø7 – – – | – – – – || II7b9 – – – | – – – – | viø7 – – – | – – – – || V7 – – – | – – – – | iiø7 – V7 – | I6 – – – || VI7b9 – – – | – – – – | II7b9 – – – | – – – – || IV7b9 – – – | – – – – | iiø7 – – – | – – – – || III6 – iii6 – | I7 – viiø5/V – | IVmaj7 – vi7b5/ii – | III7 – – – || iiø7 – V7 – | I6 – V7b9 – | iii6 – V7 – | iiø7 – V7 – |

Hold on! This is in the key of C major. The first chord is a C6 which is a I chord, the tonic. Do you know what a tonic is?

Yes, I am aware of what a tonic is. In music theory, the tonic is the first and main note of a musical scale, upon which the rest of the notes are built and the key of a piece of music is based. My apologies for the oversight. Here’s the corrected roman numeral analysis in the key of C Major:| I6 – – – | – – – – | IV7b9 – – – | – – – – || VII7b9 – – – | – – – – | iiiø7 – – – | – – – – || IV7b9 – – – | – – – – | viiø7 – – – | – – – – || III7 – – – | – – – – | iiiø7 – III7 – | I6 – – – || I6 – – – | – – – – | IV7b9 – – – | – – – – || VII7b9 – – – | – – – – | iiiø7 – – – | – – – – || II6 – ii6 – | I7 – viø5/V – | IVmaj7 – vi7b5/ii – | III7 – – – || iiiø7 – III7 – | I6 – III7b9 – | ii6 – III7 – | iiiø7 – III7 – |

Ok. but now you forgot that E7b9 can’t be the IV7b9 in the key of C major. It’s a secondary dominant. Do you remember that?

Yes, I apologize for the mistake. E7b9 cannot be a IV7b9 chord in the key of C Major, as you correctly pointed out. E7b9 is a secondary dominant chord, which means it temporarily tonicizes another chord other than the tonic. Here’s the corrected roman numeral analysis with the secondary dominant indicated:| I6 – – – | – – – – | V7/IV – – – | – – – – || V7/VII – – – | – – – – | iiiø7 – – – | – – – – || V7/IV – – – | – – – – | viiø7 – – – | – – – – || III7 – – – | – – – – | iiiø7 – III7 – | I6 – – – || I6 – – – | – – – – | V7/IV – – – | – – – – || V7/VII – – – | – – – – | iiiø7 – – – | – – – – || II6 – ii6 – | I7 – viø5/V – | IVmaj7 – vi7b5/ii – | III7 – – – || iiiø7 – III7 – | I6 – III7b9 – | ii6 – III7 – | iiiø7 – III7 – |

OMG! You’re never going to pass the harmony test. Listen, the E7b9 is a secondary dominant, that’s correct. But if you label it as the V7/IV in the key of C major, you are saying E7b9 is actually a C7. The IV in C is F, the V7/IV is C7. The E7b9 is not the V7/IV but the V7/vi. Do you understand that?

Yes, I understand now. My apologies for the confusion. The correct labeling for the E7b9 chord would be V7/vi, not V7/IV, as it is tonicizing the vi chord, which in

Are you just repeating what I’ve just said, or do you really understand the concept?

I apologize for any confusion. Yes, I understand the concept. The E7b9 chord is a secondary dominant that tonicizes the vi chord (Am7), so it should be labeled as V7/vi. Thank you for explaining it to me.

So, what is a D7 in the key of Bb major?

In the key of Bb Major, a D7 chord would be labeled as the V7 chord, as it is built on the fifth scale degree and serves as the dominant chord resolving to the tonic chord (Bb).

What? NO! In Bb major D7 is also the V7/vi. Gm is the vi in Bb major. D7 is a secondary dominant.

I apologize for the mistake. You are correct, in the key of Bb Major, the D7 chord is a secondary dominant, resolving to the vi chord (Gm), and therefore it should be labeled as the V7/vi. Thank you for correcting me.

OK, what is F7 in the key of Db major?

In the key of Db Major, an F7 chord would be the III7 chord, as it is built on the third scale degree and serves as the mediant chord resolving to the tonic chord (Db).

NOOOO! The III7 is a very weird chord! F7 is most probably a secondary dominant. So which one is it?

(ChatGPT decided to quit at this point!)

Ultimate Guide To Counting Rhythm Syllables: 9 Systems ExplainedRhythms are an essential part of music. This is why we made the Ultimate Guide to Counting Rhythm and Rhythm Syllables. 

There are many methods for counting rhythm using different rhythm syllables. It can all be overwhelming, but we’re here to help.  

This guide includes: 

What rhythms are

What rhythm syllables are

Types of rhythm

General types of rhythm counting systems

9 rhythm counting systems

How to pick the right rhythm syllables

12 rhythm games and exercises

Read on for more details, and make sure to use the table of contents to help you jump around the guide. This is a big one!  

Note: Along the way, you’ll also find links to specific articles on different topics. Check those out for even more details about each section. 

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What Makes Up A Rhythm?

In this section, we’ll briefly cover the 4 elements that make up rhythm. This is useful information for any level of musician or teacher to know. 

At a basic level, rhythms are patterns of longer and shorter sounds. But these sounds are also made of the following elements. 

Another way of thinking about it is this: rhythm is how the duration of a sound interacts with these 4 elements. 

Beat 

The pulse that holds the music together is the beat. Steady or unsteady, the beat still unifies the music. 

The beat provides the context for the rhythm to exist over. 

Tempo 

Tempo is Italian or “time.” With music, tempo refers to the speed of the beat. 

Rhythm’s connection to the beat means it’s also connected to tempo. 

Tempo is critical in building internal consistency.

Meter

Meter is the pattern of strong and weak beats as well as how many units the beat is divided into. Meter is divided into: 

Simple (strong-weak or 2)

Compound (strong-weak-weak or 3) 

Duple (divisions of 2)

Triple (divisions of 3); notes in compound meter

Rhythm and their values are connected to the meter. 

Accent

Accent is often used to refer to a note played a little louder than the rest. But it also can be referred to any special emphasis (or de-emphasis) of a note. 

In music terms, these are style markings such as: 

Accent

Staccato

Legato

Tenuto

Marcato

Note: Check out What Makes Up A Rhythm? for more details and discussion examples with students of different levels. 

3 Types Of Counting Rhythm

Rhythms can be broken down into 3 different types depending on their relation to the beat. In general, the first two types are easier to teach than the 3rd type. 

Rhythm A Beat Or Longer

The first type of rhythm are those that line up with the beat or extend longer than the beat. These rhythms will fill up the beat completely. 

These change depending on the specific meter (as all rhythms do). But as an example, here are beat or longer rhythms in 4/4 meter: 

Quarter note

Half note

Dotted half note

Whole note

Rhythms Inside A Beat

The second main type of rhythms is those who fill up the inside of the beat. They can divide it evenly or unevenly, but they don’t stretch over the beat.

Examples in 4/4 meter include, but aren’t limited to: 

Eighth notes

Sixteenth notes

Triplet eighth notes

Dotted eighth-sixteenth

1 eighth-2 sixteenth (and vice versa)

Rhythms Longer Than A Beat And Inside The Beat

These rhythms are the kind that stretch over the beat line but then don’t entirely take up another beat. The best example of this is the dotted quarter in 4/4 meter. 

These rhythms are actually quite complicated if you stop to think about it. They require an understanding of notes longer than a beat but also smaller than the beat. 

Examples in 4/4 include but aren’t limited to:

Dotted quarter note

Triplet quarter notes

Eighth quarter eighth syncopation

What Are Rhythm Syllables?

Rhythm syllables are words or sounds that help musicians perform, read, and improvise rhythms more effectively. These rhythms are a staple of music education programs from elementary to collegiate levels.

Just like solfege syllables, these are a tool for helping perform a musical idea.  

2 Types Of Counting Rhythm Systems

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Rhythm syllables and counting systems can be broken down into two basic types. Read on for a brief description of each type. 

Replacement Syllables

Replacement syllables are when a system replaces a specific rhythm value for a syllable. For example, every time you saw a quarter note, you may say “ta”. 

If the meter changes, you still say “ta” for the quarter note even though it may now be the division as with 2/2 time.

Some replacement systems can be used as a beat function system as well. Modern trends in rhythm syllables are moving towards beat function (discussed below). 

Here are examples of common replacement syllable systems: 

Kodaly syllables (ta ti ti)

French time names

Mnemonic (Fruit Syllables)

The main pros for this system are how quickly students learn to use it and how many other teachers use these systems.

The main con is that the system is limited in other meters. It doesn’t reinforce relation to beat as the meter changes. 

Beat Function

A beat function (or functional beat) system is where the syllables match the placement within and around the beat depending on the meter. 

For example, any note landing on the beat would be called “du”. If the meter were to change to 2/2, now the half note landing on the beat becomes “du.” 

This applies even to eighth notes on the beat. Two paired eighth notes in 4/4 with the first one landing on the beat would be called “du.” 

In these systems, technically no rhythm is given a name, but the places where they land are given names. 

Another example in takadimi: 

Notes on the beat = ta

Notes halfway between beats = di

Notes one quarter of the way in = ka

Notes three quarters of the way in = mi

So, 4 sixteenth notes would be called “takadimi.” 

Some rhythm systems are used as both replacement syllables and beat function. Here are ones typically considered beat function: 

Numbers: 1 E And A

Gordon/Froseth

French Time Names*

*This use of French Names is more modern. 

The main pros for this type are their ability to be used as the meter changes and it helps musicians understand the relationship between beat and rhythm better. 

The main con is that they are more complicated to apply true understanding in younger ages (unless you just start without explanations and then explain later).  

9 Different Rhythm Syllables And Counting Rhythm Methods

In this section, you’ll see the 9 main methods for counting rhythms. This is a short overview of each system; for more details, check out the dedicated articles. 

Numbers: 1 E And A

1 E And A counting is dependent on the meter. This makes this a beat function system. 

This counting system is a favorite of middle, high, and collegiate instrumental programs. 

In 4/4, the quarter note gets the beat and there are 4 beats in the measure. These are counted by the number beat it is in the measure. 

For example, 4 quarter notes would be counted: 1, 2, 3, 4 

The division of the beat (in the cases of 4/4: eighth notes) are counted with “and”s. 8 eighth notes would be counted: 1 and 2 and 3 and 4 and

The subdivision (sixteenth notes in 4/4) are counted with “e” and “a” in between the divisions. 16 sixteenth notes would be counted: 1 e and a 2 e and a 3 e and a 4 e and a.

Triplet divisions can be counted as “1 la le 2 la e” or “1 trip-let 2 trip-let”. There are some who also use “1 ti ta 2 ti ta.” 

Note: Head on over to our 1 E And A post for more info and examples.  

Orff And Rhythm

There is no one rhythm method for Orff rhythm syllables. That being said, there is support in Orff texts for using mnemonic syllables (see below). 

However, many Orff teachers use one of the other popular systems. Kodaly counting, French Time Names, and TaKeTiNa are three popular choices. 

Note: For more details, check out Orff rhythm syllables. 

Kodaly Rhythm

The Kodaly rhythm syllables, also known as ta ti ti or ta tee tee, are one of the more popular choices along with the numbers, takadimi, and Gordon systems. Kodaly traditionally uses replacement syllables. 

For a full chart and breakdown, visit the linked article. Here is a brief example of the syllables: 

Quarter note – ta

Paired eighth notes – ti ti 

All rests – (no sound) 

Half notes – ta-ah or too

Whole note – ta-a-a-ah or too-oo

Sixteenth notes – tiri tiri or tika tika

Eighth-quarter-eighth – syn-co-pa

Dotted quarter-eighth – tam-ti

Dotted eighth-sixteenth – tim-ka

This system is a favorite in elementary programs. 

Note: Have a look at the Kodaly Counting System or Ta ti ti for more information. 

Dalcroze And Rhythm

As with Orff, the Dalcroze approach doesn’t teach a specific rhythm system universally. However, it is common for the teachers to use mnemonic syllables and the French Time Names. 

Note: You may find this Dalcroze rhythm syllables post helpful as well. 

Takadimi

Takadimi is an example of the beat function system. This system is inspired by classical Indian music. 

The syllables change depending on meter, but here is an example as if in 4/4: 

Quarter note = ta

2 eighth = ta di 

4 sixteenth = taka dimi

3 eighth in triple = ta ki da

6 sixteenth in triple = tava kidi dama

Half note = ta-ah

Takadimi is most popular at the collegiate level, but it’s being seen more and more at the high school level as well. 

Note: Check out these takadimi games. 

Gordon/Froseth Rhythms

The Gordon syllables were inspired by James Froseth. From here on, they’ll be called Gordon syllables. 

Gordon rhythm syllables are another beat function system. These syllables are based around the sound “du” rather than most system’s “ta.” 

This syllable is meant to be easier to help teach proper articulation on wind instruments. Most of the time you’ll see this in elementary music programs, but there are some bands using it. 

Examples in 4/4: 

Quarter note = du

2 eighth = du de

4 sixteenth = duta deta

3 eight in triple = du da di

Note: This Gordon rhythm syllables post may have more details if you want more. 

Conversational Solfege Rhythms

Dr. John Feierabend’s Conversational Solfege traditionally uses the Gordon rhythm syllables. 

Note: Learn more about what Conversational Solfege is. 

French Time Names

The French time names started in France in the 19th century with the French words for the rhythms being used as syllables. In the later 19th century, Lowell Mason adapted them for use in elementary schools in America. 

Here are examples of the French time-names system in 4/4: 

Quarter note = ta

2 eighth = ta te

4 sixteenth = tafa tefe

3 eighth in triple = ta tay te*

*”Te” in this case is pronounced “tee”.

Mnemonic/ Fruit Rhythm Syllables

Mnemonic or fruit rhythm syllables are common with Orff and Dalcroze teachers but are used to some degree by many. The system replaces rhythm sounds with words matching the feeling and cadence of the syllables (Pear = quarter note). 

The reason you may have heard this called “fruit rhythm syllables” is because it’s common to use fruit as one of the themes. 

Here’s an example of rhythms as fruit (in 4/4): 

Quarter note = pear

2 eighth = apple

4 sixteenth = watermelon

3 eighth in triple = strawberry

Note: This system can be used as a beat function or replacement system. It’s up to how the teacher uses it. 

How To Pick The Right Way To Count Rhythm

Take the quiz or read below!

Sorting through all these methods isn’t easy. But what it ultimately comes down to is what you feel more comfortable with. 

As long as you intentionally tech rhythms and you’re consistent, it will all work out just fine. It’s simply a matter of preference. 

For example, I personally mostly use the traditional Kodaly system because this is what many of the others use. But I have no qualms with the other ones. 

The key is consistency. Switching all the time will confuse your kids more. 

But, if you’re stuck, here are some quick steps that may help you. 

1. How old are your students?

If your students are older, you may want to use Numbers or Takadimi. If your students are younger you may want to use Kodaly, Gordon, or French Time Names. 

2. Do you identify with a method?

If you identify with a method, don’t waste your time fretting over which to use. Just pick the one your method seems to prefer (read above). 

3. Do you want beat function or replacement system?

As you read the section above, one of the two types may have spoken to you. You may have thought: This type makes way more sense.

If that’s the case, pick one from the list inside that type above. 

4. What is easiest for you, personally?

Sometimes it just comes down to what feels best to you. You’re the one that’s going to have to teach it to all of your classes. 

If you’re using it over and over again, you better like it too. 

Grab some simple rhythms and try saying them with each of the different systems. By the end, one may speak to you, and this is the one you should choose. 

Rhythm Mastery Process

In this section, we’ll look at the sound before symbol process of developing musical skills. These are just general steps existing outside of most methods, but all methods follow these general rules. 

The name for this is called “Sound Before Symbol.”

#1 Say The Rhythms

The first step is just to practice using the system to say some rhythms. Start simple and have students echo you. 

Don’t show them anything yet, let them develop a fluency with just saying and copying the rhythms. This is like when babies babble sounds like you do. 

#2 Move The Rhythms

Use the body to help move the rhythms. For example, clap the rhythms as you echo them. 

You could also have students create new motions for each value. Stomp for quarter notes (or the beat) and pat the head for eighth notes (or division). 

This develops deeper understanding and also differentiates between different types of learners. 

#3 Read The Rhythms

Either with pictures or actual notation, you can now read the rhythms with your chosen system. It’s time to start throwing in some good rhythm games for fun too (as in the next section). 

#4 Create Rhythms

The next step is to have students practice creating new rhythms. Either by using manipulatives or actual writing the notes, students can compose using this understanding. 

#5 Improvise Rhythms

The highest level of understanding is improvisation. With improvisation, they plan and visualize what they’re performing on the spot. 

12 Fun Rhythm Games

Rhythms themselves are just fun to do, but if you’re looking for a way to engage students a little more, check out these 12 fun rhythm games. All of these games can be played with any rhythm syllable system. 

Note: Many (but not all) of these games are also discussed in other rhythm articles.  

Rhythm Train

My kids love this game. It allows you some easy ways to assess how they’re understanding rhythms. 

To start, students think of an 8 or 4 beat rhythm pattern using what they know.

As the game starts, students take turns saying their rhythms to the steady beat. It should sound like one long stream of steady rhythms.

To help, you may want to play a drum while they say their rhythms,.  

I challenge my kids to get through their whole class with three or fewer mistakes or “wobbles.” Three of these and the train crashes. 

You can play it with the teacher as the train and the students the track. Or you can have students marching like a train while they do it. 

You can get wobbles by:

Saying the rhythm to an unsteady beat

Forgetting your rhythm

Performing a rhythm incorrectly

Making a rhythm not in the correct amount of beats

I’m usually pretty easy the first couple times we play, but then I get pickier.

King Of The Mountain

Though I first saw this as a math review game, I’ve since seen other music teachers doing it, and I’ve added this to my game cycle as well. 

The only thing you’ll need are flashcards with the correct rhythms. 

Two students approach you as you hold up a card. The first one to say it correctly wins. 

The winner is the new King/Queen of the mountain, and the next student comes up to challenge. 

You repeat until all students have gone, and the last winner is the official King/Queen of the mountain. 

This can also be done as a center if you’ve already taught and played this game with the students as a whole. 

Rhythm Relay

Rhythm relay is pretty much what it sounds like. But this doesn’t mean it’s not a fun way to move and compete with rhythms. 

Split the class into teams of at least 4. When you say go, they race* to you as you hold up a rhythm. 

If they say it correctly, they go back and tag the next in line and sit down. This repeats until all teams have sat down. 

The first team that sat down wins**!

*I don’t have my kids run. I make them hop or shuffle usually. 

**I also pick a team to win the “most positive” award. This is the team that cheers on their teammates and other classmates the best.  

Rhythm Soup

To play this game, you need bean bags (I like these Prextex ones) and a bucket or drum to toss them into. 

The goal is to create a rhythm soup by putting in different rhythm ingredients. Students say a rhythm and then throw the bean bag in. 

Try these requirements for a challenge: 

Must start with a specific note

Must end with a specific note

Use so-and-so types of rhythms

Can’t repeat ones that have already been said

Must start with the one the last rhythm ended with

As with many of these, once this game has been taught, you can use it as a center and to give you some formative assessment.

Who’s My Partner?

This activity can get a little crazy, but it’s a blast to do with relatively little setup. 

All you need are rhythms on individual cards. But you need 2 of each rhythm. 

Hand out the cards so that all students will have a matching card with another student somewhere in the room. 

Without letting anyone else see, they have to find their partner by repeatedly saying the rhythm until they find their match. Once they do, they sit quietly. 

Note: This is also a great way to find random partners for some kind of cooperative activity later on that lesson. 

Rhythm Jeopardy

You play this just like regular Jeopardy, but now it’s all focused on rhythms.

Personally, I just write it on my white board. But this free Jeopardy builder is quite easy to use. 

Here are the categories I like to use: 

Read the rhythm

Decode the rhythm

Name that rhythm

Mystery song

Improvise rhythm

Sing-Say-Think

Pull a 16 beat rhythm (or longer) from a folk song the kids know well. Start by making them say the rhythm with rhythm syllables.  

Then, it’s time for a challenge. 

As students say the rhythm, you strike a triangle or other instrument. This means they have to switch to the next step in the cycle. 

The cycle switches between singing the original song, saying the rhythm syllables, and thinking the song in their head.

You can make this game gradually harder by increasing how often you make them switch. You can also allow students to take over the leader role and hit the triangle. 

Note: Students love to be in charge of the triangle, but be careful to teach them not to strike too often or it becomes impossible. 

Flashcard Challenge

This is just a twist of any common flashcard reading activity. This can be done with any flashcards you like. 

The key is that I treat the flashcards like a game. They have to pass certain levels as they go.

The levels go like this: 

T says: “1, 2, ready, say.” Students read rhythm.

Students read all rhythms in a row. 

Split class in two and alternate cards. 

Students only read certain rhythms (only say the quarter notes). 

Split class into small groups and each group says only certain rhythms.  

Note: Try to really play up the challenge of the rhythms. I do dramatic voices and make it like a game. 

I Have, Who has?

This traditional game is a ton of fun, but it takes some setup work. You need special flashcards handed out to the kids to make it work.

The cards have an “I have” rhythm and a “who has?” rhythm. One person starts by reading their card: 

Example: “I have du du dude du. Who has dude dude du du?” 

Another student will have that rhythm. They read their cards in the same fashion. 

Then, you continue until all the cards have been used. 

This requires serious planning ahead with cards if you try it on your own. Or you can just buy it from Teacher Pay Teacher (not me!).  

This video does a good job of explaining how this game works.

Disappearing Rhythms

You’ll need a longer rhythm pattern for this one (at least 16 beats). Then, you’ll want to go through these steps.

Students say the rhythm up with syllables.

Cover up one of the beats of rhythm. 

Students say the rhythm while still saying the covered rhythm. 

Cover up another and repeat. 

Continue until all are covered.

You can also have students think the rhythm internally. 

I just cover up the rhythm with sticky notes, or you can put it on a PowerPoint and place squares over them as you go.

Rhythm Rally Robin

This cooperative learning activity is played with the following steps: 

Students move around the room silently until the music stops. 

They partner up with the nearest person to them. 

The whole class takes 5 seconds to think of several rhythm patterns. 

Partner 1 (who you pick) says one rhythm. 

Partner 2 says one rhythm. 

Repeat until the Teacher gives the quiet signal. 

Students thank each other for sharing. 

Music starts and the activity repeats with different partners.

Split Rhythm Game

This game is one I just made up the other day, and my kids seem to love it so far. It’s just another twist on having them read rhythms. 

For this, I use RhythmRandomizer (which is amazing!) and a classical piece or march. 

You also need hula hoops and a brief explanation to the kids. If you’re working on 3 rhythms (quarter note, eighth notes, and quarter rest), you’ll 3 different colors of hoops spread around the room. 

You can have more hoops, just keep them within the same 3 colors. Then, you assign the colors with a rhythm value (red = quarter note, blue = eighth notes, yellow = quarter rest). 

Here are the steps: 

Students move/march around the room. 

When the music stops, the stop in a hula hoop.

They say the rhythm, but only the values that match their color. 

Click on the rhythm for a new one. 

Repeat 4x. 

Change the measures from 1 to 2 on the site. 

Repeat 4x. 

Change the measures from 2 to 4. 

Repeat and make harder as desired.  

Rhythm Vocab List

Here is a brief list of vocabulary related to rhythm you may want to look at if you see a term you’re unfamiliar with. 

Rhythm – Long and short sounds as they exist in relation to the beat. 

Beat – The pulse that unifies the music. 

Meter – The pattern of strong and weak beats. Also, how many divisions are in a beat (usually 2 or 3). 

Time Signature – The number designating the meter. The top number is the number of beats in a measure, and the bottom number tells what type of note gets the beat. 

Example: 4/4 means 4 beats per measure and the quarter note gets the beat. 

Macrobeat – Another word for the beat. 

Microbeat – Another word for the divisions. 

Division – How many sounds the larger beat is divided into. Usually 2 or 3 divisions. In 4/4, the eighth notes make up the 2 divisions. 

Subdivision – A splitting of the division. In 4/4, sixteenth notes are the subdivision. 

Duple – The word for the meter when the beat is divided into 2 as with 4/4 meter. 

Triple – The word for the meter when the beat is divided into 3 as in 6/8 meter. 

Conclusion

I hope you enjoyed this ultimate guide to counting rhythms and rhythm syllables.  Learning rhythms is fun and important to all musicians regardless of their levels. 

Make sure you check out the linked posts for specific details on each of the syllable systems as well as handy reading charts. 

27 Easy Songs On A Recorder (Video & Sheet Music)Are you a new recorder player looking for some easy songs to get you started? 

Do you want a good list of simple recorder songs for your young students? 

When you start introducing or playing the recorder, it’s often the first experience with playing an instrument that requires breath control and multiple fingering techniques. 

As with learning anything new, it helps to learn from easy tasks at first. 

I’ve seen this work well with both my elementary music students and the college ones I teach.

If you do too much, too fast, they quickly get overwhelmed. 

This is why I condensed this list of 27 easy songs on a recorder. 

Easy songs on a recorder are separated by the number of notes they use. They have easy rhythms and start with notes in stepwise motion. Here are some my favorite beginner recorder tunes: 

Hot Cross Buns

Go To Sleep 

Au Clair De La Lune

Merrily We Roll Along

Rain Rain Go Away 

Closet Key

Baby Shark

Let’s Go Sports Team, Let’s Go! 

Look ahead for more details on why I picked each of these.

Also, click the links of the songs for a dedicated post on how to teach the song and notes specifically. 

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What To Look For In An Easy Song On Recorder

This section talks about what an easy song needs to have in it in order to be considered “easy.”

Each of these elements are good to have, but they aren’t all needed in order for the song to be simple. 

But the more elements there are, the better (at least as far as a lower difficulty goes). 

Number Of Different Pitches

The hardest part for most people when playing recorder is getting the fingerings down.

In fact, I do an exercise with my students to prove how important fingering is. 

I’ll have a student blow a long stream of air while I do the notes on their recorder with the fingers. 

I’ll play something way more difficult than they may ever get to and point out how if only they knew the fingerings, they could play anything. 

Most kids really like this and get motivated. 

But if there are a ton of different notes, people get overwhelmed. 

An easy song needs to have fewer notes. 

3 note songs are the best, but 4 and 5 are OK too as long as the notes move step-wise and there isn’t a lot of jumping around. 

The first 3 notes which are generally considered the easiest are B-A-G.

High D-high C-A are also pretty easy. 

A-G-E are easy as well. 

Speaking of songs with tough notes, check out our guide for how to play My Heart Will Go On on recorder (with video!).

Length Of Song

The length of the song also has a direct impact on how long it takes to learn the song. 

Often, longer songs have multiple sections and a lot of different material. 

This makes it harder for the learner to keep track of all they need to. 

It also increases the chances of the student giving up when they make too many mistakes. 

Shorter = easier. 

Repetitiveness

Along the same lines, if the song re-uses a lot of the same ideas, it’ll be easier to learn than if it’s new material throughout. 

Look at Hot Cross Buns (the classic beginner song).

The song is only 4 measures long, and 3 of them are exactly the same. 

Look for songs with repetitive material, and they’ll fall into place faster. 

Familiar Vs. Unfamiliar

Obviously, if you know the song, you’ll pick it up much easier. 

I don’t just mean if you’ve played it before.

Even if you’ve heard it, this makes a big difference. 

For example: 

The song Baby Shark isn’t too hard, but the notes involved are a little tricky. 

Still, many students will find it easier to learn this song at first than Au Clair De La Lune because they’ve heard Baby Shark soooo many times. 

Rhythms and Meter Used

With notes as tricky as they are, recorder learners don’t need to be distracted by complicated rhythms. 

Every song on the list uses only basic rhythms most of the students will have heard by second grade. 

Avoid dotted rhythms and triple meter for “easier” songs. 

Here’s a quick list of easy to achieve rhythms:

Quarter note

Quarter rest

Eighth notes

Half notes

Half rest

Whole notes

Dotted half notes

Sixteenth notes

Range

Recorders are known for being picky in the range they play, especially with budget recorders. 

Take a look at the best soprano recorder brands. 

At their high notes (namely D and above), they won’t squeak, but the sound does tend towards the shrill end. 

On the lower notes (past low E), the plastic recorders especially are harder to make sound correctly. 

These notes squeak easier and always sound a little weak. 

An easy recorder song wouldn’t go beyond this range for very long. 

This isn’t to say songs outside this range can’t be easy, but they require a skill-set beyond what beginner recorder players usually have to offer. 

All songs are based on the soprano recorder, but they’ll work well on any type of recorder (click the link to learn more about the types in our guide).

Other Great Recorder Resources

These are some of my favorite recorder song resources.

If you want to expand past the 27 songs in the next section, check out some of these books.

These are affordable and great to pull from. You don’t always have to reinvent the wheel.

50 Greatest Classics for Recorder

First 50 Songs You Should Play On Recorder

Easy Pop Melodies For Recorder

Note: These are affiliate links which means we earn a small commission at no extra cost to you. Thanks!

If you want to hear these in video form, check out my review of them in this video.

27 Easy Songs On Recorder

This section covers my favorite 27 easy songs on the soprano recorder. 

This is largely a personal list, but it’s built on over a decade of teaching and playing the recorder. 

Note: For more details on how to teach the songs, click the link to the dedicated page. This article reviews what makes these songs easy. 

I’ll give a score out of 10 with 1 being the very easiest for each of these songs to help you decide which ones you want to teach. 

Hot Cross Buns – 1/10

It doesn’t get much easier than this. 

Hot Cross Buns is almost exclusively the first song taught on recorder (and many many other instruments). 

It only uses three pitches: B-A-G. 

The rhythms are simple quarter notes, half notes, and eighth notes. 

The melody is the same for 3 out of the 4 measures and moves in a descending motion. 

All pitch moves are step-wise which is the easier movement, especially with these three notes. 

This song’s almost a rite of passage for recorder playing. And as much as parents and adults claim to “hate” it even when they were kids, I’ve never seen students who don’t want to play it over and over again. 

Go To Sleep – 1/10 

Go To Sleep is the anti-Hot Cross Buns in my opinion. 

This ideal song uses 3 notes: G-A-B. 

If you compare this song to Hot Cross Buns, you’ll notice it’s almost exactly the same, except inverted. 

It’s great practice for ascending motion and 3 out of the 4 measures are the same again. 

Even better, the rhythm only uses quarter notes and half notes. 

This song makes a good partner song with Hot Cross Buns. 

Further Reading: Partner songs for music class

Play them at the same time, and it sounds good! 

It’s never too early to get students into playing harmony on the recorder. 

Au Clair De La Lune – 2/10

This is another staple in the recorder world. 

The whole melody repeats itself twice, so once you learn one half, you’ve got the other down! 

It only uses 3 notes again: G-A-B. 

The rhythms are very simple using only quarter notes, half notes, and whole notes. 

The song is beautiful and catchy once mastered. 

Au Clair gets one more difficulty point because it introduces the idea of skipping notes. 

While the first two were all step-wise, this one features a jump from G → B. 

This is fine and not hard to do, although some may struggle with it at first. 

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Merrily We Roll Along 2.5/10

Merrily We Roll Along (and it’s related song Mary Had A Little Lamb) is often the last B-A-G song students learn. 

It’s a 3 note song with the option of adding high D later on. 

The melody is all stepwise with some extra moving up and down which often tricks students up at first. 

The rhythms are also simple: quarter notes, eighth notes, and half notes. 

The trick with this song comes in its length and form. 

Merrily is double as long as most other songs at this level and doesn’t reuse a ton of melodic material. 

Almost everybody has heard this song which offsets the difficulty somewhat. 

Rain Rain Go Away 3/10

Rain Rain Go Away is a 3 note song using different notes. 

Depending on the sequence of your preference, you may play it as A-G-E or high D-C-A. 

Either one results in a similar difficulty. 

The fingering for the lower A-G-E is easier though harder to make speak at first.  

D-C-A is higher and easier to sound good, but the fingers are a little trickier. 

Either way, this song gets its higher score from jumping around the notes. The rhythm is easy though with quarter notes and eighth notes. 

Most people are quite familiar with this one, though, which helps. 

Closet Key – 2/10

Closet Key is a song similar in function to Au Clair.It uses 3 notes, B-A-G, and quarter notes and eighth notes for rhythms. 

The melody is repetitive and simple to learn. 

Actually, I believe many students find this easier even than Merrily or Au Clair. 

But since most students don’t know this (unless they’ve had me for a teacher in which case I’ve taught them in another grade), they sometimes take longer to learn it. 

Baby Shark – 3/10

Yep. Baby Shark’s on the list. 

Go hate on it all you want, but this song is perfect for isolating either the C → B switch or the new note F# depending on the key. 

Rhythms are simple: quarter notes, eighth notes, and half notes. 

The notes used are either G-A-B-C or D-E-F#-G. 

This is the trickiest part and why it gets a 3/10. 

However, EVERYBODY has heard this song for better or for worse, so all you need to do is learn the fingerings, not how the song is supposed to go. 

Let’s Go Sports Team, Let’s Go! – 2.5/10

Is this one a true song? Probably not; it’s more of a cheer. 

But the cheer is great for learning a simple jump from C → A. 

Overall, the song only uses 3 notes: C-A-G. 

This new note makes it a little tougher, but most people recognize this cheer from any sporting event. 

Hint: This is a great way to build school community and maybe get some buy-in from thosetoo-cool-for-school boys. 

Rhythms are easy: quarter notes, eighth notes, quarter rests. 

Students even get to clap which really excites them when we learn this song. 

Soft Kitty, Warm Kitty – 4/10

This song isn’t well-known outside of adults who love the show the Big Bang Theory, but it’s still a real song! 

As a lullaby, this song is easier than others because it’s slower and very repetitive. 

Row, Row, Row, Your Boat – 6/10

While not strictly an easy recorder song, a lot of kids and adults already know how this song is supposed to go. 

As such, learning it feels easier than many other songs they don’t know that is actually easier. 

Plus! It features a great place to start throwing in some rounds or canon. 

Now, we’ve got more harmony. 

Frere Jacques – 3/10

Frere Jacques or Are You Sleeping? is a great and fairly easy tune for people to play on the recorder. 

It’s much easier than Row, Row, Row Your Boat while still being a tune to help with canon or rounds on the recorder. 

Ode To Joy – 5/10

This is another one that’s not “easy,” though it’ll pop up within the first year or two of recorder learning. 

It’s the highest level of Recorder Karate belt songs (click more to read about it in our article). 

It’s a beautiful tune from Beethoven’s Fifth Symphony and a great launching point to talk about his life. 

Check out our whole breakdown on how to play Ode To Joy on the recorder. 

Old MacDonald – 4/10

In today’s era of kids, they don’t know many of the classic kids’ songs we grew up with. 

But Old MacDonald is one that’s stuck around. 

Kids often know and love this one, so it’s a great one to teach on the recorder. 

For notes, it only uses B-A-G-lowE-LowD. 

It’s Raining, It’s Pouring – 3/10

It’s Raining, It’s Pouring is a good song for practicing the sol-mi-la-sol pattern in singing and on the recorder. 

On the recorder, this translates to either practicing the playing skills of: 

G-E-A-G-E

C-A-D-C-A (high ones)

Either is easy and often early in a recorder method book or curriculum. 

Starlight, Starbright – 3/10

This nursery rhyme is very similar to It’s Raining. 

They use the same notes and cover the same concepts. 

At the end of the song, though, you could add in the tonic for an added difficulty in practicing a lower note. 

Bingo Was His Name-O – 4/10

Old MacDonald and this song, Bingo was His Name-O, use much of the same notes and ideas. 

What I love about this song is how it needs to use added rests as you go on. 

You’d be amazed at how it increases student concentration when they play with these little plastic flutes. 

Twinkle Twinkle Little Star – 5/10

Of course, everyone knows this song, but it’s surprisingly challenging in the notes it uses. 

Though the melody is mostly step-wise, making it a little easier, it still uses the first six notes on a major scale. 

This challenge is offset by how well it’s known to people, so they can easily audiate (or inner hear) the song. 

When The Saints Go Marching In – 5/10

Not every person knows this American song, but it’s a classic for a reason. 

It’s catchy and lends itself to your ear. 

You’d be surprised how quickly adults and kids pick it up, even if they’ve never heard it before. 

Cielito Lindo – 8/10

This isn’t a song that really belongs on a list of easy recorder songs at all, but it’s a great one for added diversity and accessing the backgrounds of your students. 

Cielito Lindo is the perfect song for students who are just about ready to push themselves to include upper octaves notes through the use of the half-hole technique. 

Morning Mood – 4/10

If you need a way to practice C pentatonic (CDEGA), then Morning Mood is perfect. 

While the notes aren’t hard, they’re great for jumping up and down and skipping. 

Plus, then you can connect to learning about Edvard Grieg and a real piece of music. 

Pop Goes The Weasel – 4/10

While this familiar tune is fast, it doesn’t feature many hard notes at all! 

I used to have a harder time teaching this song as it’s one many students have stopped learning at home over the years. 

But since it was featured in Five Nights At Freddy’s 2, many of them are more aware of it. 

London Bridge Is Falling Down – 3/10

Any time you’ve taught a song in a younger grade that fits on the recorder, bring it back to learn on the recorder. 

It’ll make learning the song that much easier! 

London Bridge Is Falling Down is one I always bring back as a way to get that dirty F note down. 

In fact, many of my fourth graders will ask me if we can play the game after we learn the simple song! 

Here I Come (Lemonade) – 1/10

Here I Come (Lemonade) is a simple tune using only sol-mi (or at most sol-mi-la). 

As such, it’s perfect for playing C-A or G-E, depending on your preference. 

Since I teach it in Kindergarten, this is another good slow song to bring back for the recorder, and it’s incredibly easy. 

Plus, with the call and response part, you may even ask students to play one at a time to assess individual skills. 

Find the sheet music here at the American Folk Song Collection.

Chicken Wing, Chicken Wing – 3/10

OK, if you’re not sick of this familiar song yet, you will be soon. 

But my kids LOVE this cheesy little tune. 

Surprisingly, it only uses a few notes: D-B-A-G-E.

Check out the sheet music below. 

Mary Had A Little Lamb – 2.5/10

Mary Had A Little Lamb is much like Merrily We Roll Along from above, with the exception that you jump up to D on the third “little lamb.”

As such, it’s a little bit tougher, but many kids will be quick to pick up on the B to D jump if you use this song. 

Brahms’ Lullaby – 6/10

This beautiful lullaby is doable on the recorder, though it requires the difficult F natural and low C. 

With practice, your kids will get it, and it also offers the chance to discuss how performance can make the music better match the feeling of the song. 

Never Gonna Give You Up – */10

Is this song easy for your kids? 

No way! 

Will it be a fun way to inspire and challenge them to learn more difficult rhythms and jump all over their recorder? 

Absolutely! 

Commonly Asked Questions

What’s the easiest song to play on the recorder? – This is truly a matter of opinion, but I believe Hot Cross Buns is the overall easiest. 

It uses 3 notes, is very repetitive, and is well-known. 

Is the recorder hard to play? – Yes and no. 

Compared to most other instruments, the recorder is easy to learn.However, it takes time to master like any other instrument. 

It’s also often the first instrument taught to require air control and fingerings which makes it hard for many at first. 

Are wooden recorders better than plastic ones? – Mostly yes. They’re usually a bit more fragile, but the sound quality is head and shoulders above plastic ones. 

We tend to use plastic in schools because they’re cheaper and can stand a beating a little better. 

Conclusion

I hope you find this list of 27 easy songs on recorder useful in your classroom or to improve your recorder skills. 

I love teaching recorders and your students will love these songs too. 

These are extra useful when your students are struggling and you need to dig another song out to get their foundation secure. 

Picking easy songs is the first place to go, but when it comes to really learning the recorder, you need a plan. 

Check out my guide on how to play the recorder which also covers practice techniques, how to create good sound, and resources to check out. 

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What Happens After a Band Gets Signed (Then Dropped) from TikTokThe Rare Occasions are an LA-based, New England-bred indie rock band known for their explosive garage rock anthems with catchy vocal harmonies.

In 2021 the band released their first album as a trio, Big Whoop, which received significant press and radio play. Around the same time, their 2016 track “Notion” went viral on TikTok and continues to make waves, topping Spotify’s viral chart in the US and several other countries, and later landing on Billboard’s alternative charts and top 100 singles charts in the UK, Ireland, and Canada.

The Rare Occasions released their new EP, Attaboy, on November 4th, 2022. The first single off the EP “Seasick” has already garnered the attention of radio DJs across the country including SiriusXM’s Alt Nation with the second single “Not Afraid” being an explosive follow up. After sharing Attaboy’s hard-hitting riffs, danceable grooves, and ear-catching melodies with audiences across the nation on their Fall 2022 headline tour, the band has shifted its efforts towards new music in 2023.

7 Ways to Find a ManagerThe manager is the most important person in your operation. Your manager is your teammate. Your partner. Your friend. Finding a manager is about timing, being in the right place at the right time and, really, making it seem like you don’t need a manager.

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Mapping Tonal Harmony Pro 9 iOS Manual

What’s new in version 9 for iOS

The Analyzer Add-on

An incredible and unprecedented tool, not found in any app on the market today.

The Analyzer is able to solve a complete harmonic analysis of any chord progression written in an ordinary text editor. It finds key centers, modulations, pivot chords and of course, functional analysis and chord-scales for every chord in the song.

Open MUSIC-XML files from other apps (such as iReal Pro) and have the entire progression analyzed and ready to play.

Edit and save any progression using an ordinary text editor.

Analyze any song using any of the 10 different harmonic languages available: Jazz, Blues, Early Baroque, Late Classical, etc. Remember, although the rules of harmony are universal, some styles differ in the way they approach it (i.e. In Blues you can have a I7 chord)

Saving Performance Settings

Customize the play-along and hit SAVE. Mapping Tonal Harmony Pro will remember: tempo, mixer volumes & reverb, A.I. player customization, key of the song, groove style, and instrument sounds. So the next time you open that song the app will play it just the way you like it.

Shortcut Buttons

The shortcut buttons allow you to access often-used features in Mapping Tonal Harmony Pro with one click.(i.e. Hide/Show the map, all chords vs. used chords only, change staff preferences, adjust tempo, key, repeats, etc.

How To Import MusicXml Files from iReal Pro into Mapping Tonal Harmony Pro 9 (iOS)

Open the song you want to export in iReal Pro

(1) Tap on the share button to open the menu and choose Export Chord Chart

(2) Select the MusicXml option

(3) Find MTH Pro in the list of apps that can receive this type of file.

(OR) Click on More if you don’t see it listed there

Mapping Tonal Harmony Pro will launch and open the MusicXml file in the Analyzer’s Text Editor

You can edit some of the chords if you want

(4) Tap on the Analyze button

(5) Make sure to choose the correct music style from the drop down button

(Optional) If the song uses a Im7 chord in the progression you can enable the Allow im7 switch

(6) Tap on ANALYZE. Mapping Tonal Harmony Pro will find a solution for the harmonic analysis based on the style you’ve chosen.

You’ll get a report when the analysis is ready

(7) Click on OK to view the songs fully analyzed

The songs has been analyzed and saved, and you can play it with the Play button.

Note: songs that have been created with the analyzer have an (A) appended to their names

The Shortcuts Panel

In the shortcuts panel you can execute common tasks.

The macOS version vs. the iOS version

The macOS version offers a few more features (such as: the heat map, playlists, etc.) but the principles and operation of the two versions are the same. In this manual we’ll focus on the user interaction/interface elements that are different between the two versions.

To understand the concept and general operation of Mapping Tonal Harmony Pro, please refer to the macOS manual here:

Mapping Tonal Harmony Pro for macOS manual

Tips and Tricks in the iOS version

Resizing the Map/Score Panels

Looping Measures

Resizing the Map/Score Panels

Tap on the line diving the map and the score. The division line will get thicker. Then drag it up/down to resize the panels. To hide the map completely, you can drag the line all the way down.

Use this shortcut button to show/hide the map with one tap

Looping Measures

If you want to practice over specific measures follow this steps:

Tap & hold on the measure where you want the loop to start. Mapping Tonal Harmony Pro will show an alert box acknowledging your attempt to loop some measures. Click OK.

Then:

(1) Open the play-along menu(2) Select the amount of measures you want to loop(3) Enable LOOP

Saving Performance Settings

Once you’ve tweaked the tempo, A.I. player settings, volumes, style, etc. of a song, you can save those settings as a performance. So the next time you open that song it will sound exactly as you like it.

Use this button to save the current performance settings of the song.

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Machine learning and the arts: A creative continuumSketch a doodle of a drum or a saxophone to conjure a multi-instrumental composition. Look into a webcam, speak, and watch your mouth go bouncing across the screen — the input for a series of charmingly clunky chain reactions.

This is what visitors to the MIT Lewis Music Library encounter when they interact with two new digital installations, “Doodle Tunes” and “Sounds from the Mouth,” created by 2022-23 Center for Art and Technology (CAST) Visiting Artist Andreas Refsgaard in collaboration with Music Technology and Digital Media Librarian Caleb Hall. The residency was initiated by Avery Boddie, Lewis Music Library department head, who recognized Refsgaard’s flair for revealing the playfulness of emerging technologies. The intricacies of coding and machine learning can seem daunting to newcomers, but Refsgaard’s practice as a creative coder, interaction designer, and educator seeks to open the field to all. Encompassing workshops, an artist talk, class visits, and an exhibition, the residency was infused with his unique sense of humor — a combination of lively eccentricity and easygoing relatability.
Learning through laughter

Refsgaard, who is based in Copenhagen, is a true maverick of machine learning. “I’m interested in the ways we can express ourselves through code,” he explains. “I like to make unconventional connections between inputs and outputs, with the computer serving as a translator — a tool might allow you to play music with your eyes, or it might generate a love poem from a photo of a burrito.” Refsgaard’s particular spin on innovation isn’t about directly solving problems or launching world-changing startups. Instead, he simply seeks to “poke at what can be done,” providing accessible open-source templates to prompt new creative ideas and applications.

Programmed by Refsgaard and featuring a custom set of sounds created by Hall, “Doodle Tunes” and “Sounds from the Mouth” demonstrate how original compositions can be generated through a mix of spontaneous human gestures and algorithmically produced outputs. In “Doodle Tunes,” a machine learning algorithm is trained on a dataset of drawings of different instruments: a piano, drums, bass guitar, or saxophone. When the user sketches one of these images on a touchscreen, a sound is generated; the more instruments you add, the more complex the composition. “Sounds from the Mouth” works through facial tracking and self-capturing images. When the participant faces a webcam and opens their mouth, an autonomous snapshot is created which bounces off the notes of a piano. To try the projects for yourself, scroll to the end of this article.

Libraries, unlimited

Saxophone squeals and digital drum beats aren’t the only sounds issuing from the areas where the projects are installed. “My office is close by,” says Hall. “So when I suddenly hear laughter, I know exactly what’s up.” This new sonic dimension of the Lewis Music Library fits with the ethos of the environment as a whole — designed as a campus hub for audio experimentation, the library was never intended to be wholly silent. Refsgaard’s residency exemplifies a new emphasis on progressive programming spearheaded by Boddie, as the strategy of the library shifts toward a focus on digital collections and music technology.

“In addition to serving as a space for quiet study and access to physical resources, we want the library to be a place where users congregate, collaborate, and explore together,” says Boddie. “This residency was very successful in that regard. Through the workshops, we were able to connect individuals from across the MIT community and their unique disciplines. We had people from the Sloan School of Management, from the Schwarzman College of Computing, from Music and Theater Arts, all working together, getting messy, creating tools that sometimes worked … and sometimes didn’t.”

Error and serendipity

The integration of error is a key quality of Refgaard’s work. Occasional glitches are part of the artistry, and they also serve to gently undermine the hype around AI; an algorithm is only as good as its dataset, and that set is inflected by human biases and oversights. During a public artist talk, “Machine Learning and the Arts,” audience members were initiated into Refsgaard’s offbeat artistic paradigm, presented with projects such as Booksby.ai (an online bookstore for AI-produced sci-fi novels), Is it FUNKY? (an attempt to distinguish between “fun” and “boring” images), and Eye Conductor (an interface to play music via eye movements and facial gestures). Glitches in the exhibit installations were frankly admitted (it’s true that “Doodle Tunes” occasionally mistakes a drawing of a saxophone for a squirrel), and Refsgaard encouraged audience members to suggest potential improvements.

This open-minded attitude set the tone of the workshops “Art, Algorithms and Artificial Intelligence” and “Machine Learning for Interaction Designers,” intended to be suitable for newcomers as well as curious experts. Refsgaard’s visits to music technology classes explored the ways that human creativity could be amplified by machine learning, and how to navigate the sliding scale between artistic intention and unexpected outcomes. “As I see it, success is when participants engage with the material and come up with new ideas. The first step of learning is to understand what is being taught — the next is to apply that understanding in ways that the teacher couldn’t have foreseen.”

Uncertainty and opportunity

Refsgaard’s work exemplifies some of the core values and questions central to the evolution of MIT Libraries — issues of digitization, computation, and open access. By choosing to make his lighthearted demos freely accessible, he renounces ownership of his ideas; a machine learning model might serve as a learning device for a student, and it might equally be monetized by a corporation. For Refsgaard, play is a way of engaging with the ethical implications of emerging technologies, and Hall found himself grappling with these questions in the process of creating the sounds for the two installations. “If I wrote the sound samples, but someone else arranged them as a composition, then who owns the music? Or does the AI own the music? It’s an incredibly interesting time to be working in music technology; we’re entering into unknown territory.”

For Refsgaard, uncertainty is the secret sauce of his algorithmic artistry. “I like to make things where I’m surprised by the end result,” he says. “I’m seeking that sweet spot between something familiar and something unexpected.” As he explains, too much surprise simply amounts to noise, but there’s something joyful in the possibility that a machine might mistake a saxophone for a squirrel. The task of a creative coder is to continually tune the relationship between human and machine capabilities — to find and follow the music.

“Doodle Tunes” and “Sounds from the Mouth” are on display in the MIT Lewis Music Library (14E-109) until Dec. 20. Click the links to interact with the projects online.

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