Jazz Tutorial: Advanced Arrangement of Someday My Prince Will ComeYou can check level 2 (Intermediate level) in this post here: How to Play the Real Book: Level 2 Arrangement of “Some Day My Prince Will Come”

Someday My Prince Will Come is a classic jazz standard that has been recorded by numerous jazz musicians. In this tutorial, we will explore an advanced arrangement of this song and discuss some techniques that can be used to create more complex and interesting arrangements.

Before we get started, let’s talk about what to expect in this level 3 arrangement. We’ll be using techniques from the previous levels, such as embellishing the melody, enclosures, and broken chords on the left hand. However, we’ll also be introducing some new techniques like borrowing from the minor key, modal interchange chords, and a more advanced rhythmic grid.

Setting Up an Introduction

The first thing we’ll discuss is the introduction. The intro sets the tone for the entire song and is a great way to build tension and establish the key. In this arrangement, we’re using a dominant pedal point in the key of F to build tension. The dominant of our key is Bb, so we’re using the note F as a pedal point in the bass. This creates a clearly defined anchor for the listener and allows us to introduce chords that aren’t in the key, like the Db/F and C/F in the intro.

Borrowing from Minor

Another technique used in this arrangement is borrowing chords from the minor key. We can borrow chords from the parallel minor key to add a bit of color to the arrangement. For example, in the first line of the arrangement, we’re using the bVI chord from the Bb minor key, which is Dbmaj7.

Modal Interchange Chords

Modal interchange chords are another way to add color to your arrangement. These are chords that are borrowed from a parallel mode or key. In this arrangement, we’re using modal interchange chords to create an intro and outro. We’re using chords from the Bb Mixolydian mode to create an intro that leads us into the song. Then, in the outro, we’re using chords from the Bb Aeolian mode to create a sense of resolution.

Advanced Rhythmic Grid

The rhythmic grid is another important aspect of this arrangement. We’re using an eighth-note subdivision to define our grid, which creates a more complex and interesting rhythmic feel. The left hand is also filling in the spaces offered up by the right hand, which creates a more clearly defined bass line.

Upper Structure Chords

Finally, we’re using upper structure chords in this arrangement. Upper structure chords are chords that are built on top of a basic triad or seventh chord. They allow us to highlight tensions within the chord and create a unique and interesting voicing. In this arrangement, we’re using a D/F7 chord as an upper structure chord in the intro.

Conclusion

In this tutorial, we’ve explored an advanced arrangement of Someday My Prince Will Come and discussed some techniques that can be used to create more complex and interesting arrangements. By borrowing chords from the minor key, using modal interchange chords, and creating a more advanced rhythmic grid, we can create an arrangement that is both sophisticated and accessible. We hope this tutorial has given you some ideas and inspiration for your own arrangements. If you’re interested in learning more about jazz theory and improvisation, be sure to check out mDecks Music‘s other resources.

If you want access to all of these arrangements (Beginner’s • Intermediate • Advanced • Pro) you can download them here: Someday My Prince Will Come in 4 levels

You can read the next level jazz tutorial (Pro Level) of Someday My Prince Will Come here:Jazz Tutorial: Creating an Artistic Interpretation of a Song with Piano. Someday My Prince Will Come – Pro Level

How to Play the Real Book: Level 2 Arrangement of “Some Day My Prince Will Come”You can check level 1 (Beginner’s level) in this post Interpreting Lead Sheets: How to Bring the Music to Life. Someday My Prince Will Come – Beginner’s Level

If you’re interested in learning how to play “Some Day My Prince Will Come,” you’re in the right place! In this tutorial, we will be discussing the level two arrangement of this classic tune from the Real Book. We will also be going over some basic music theory concepts, such as chord voicings and rhythmic grids.

Before we dive into the level two arrangement, take a moment to listen to all four levels of the song back to back. This will give you an idea of how the arrangement progresses from level one to level four.

Now, let’s dive into the level two arrangement. This arrangement builds on the concepts introduced in level one, such as playing chords and the melody pretty much as is, using closed voicings on the left hand, and considering seven chords as our default setting. However, there are some new concepts introduced, such as an increase in the grid complexity and the implementation of rootless voicings.

One of the biggest departures from level one is the increase in rhythmic grid complexity. This is achieved by breaking the chords on the left hand, which fills in the gaps where the melody was not playing on two, and gives us a more continuous pulse. This also gives us a more clearly defined baseline.

In measures 4, 5, and 6, we implement rootless voicings. In measure 4, we omit the root on the left-hand voicing, but it’s still going to land to the ear as if it were there because it’s present in the melody. In measures 5 and 6, we use a more literal interpretation of what a rootless voicing is, by replacing the root with the 9th and completely getting rid of the root in a G7#5 chord.

In the next eight-measure phrase, we omit the left hand on the downbeat of each measure and let the right hand take control over illustrating where the beat is. This makes the rhythmic grid more defined, and there’s more than one way to achieve that. In measures 16 through 18, we introduce the right hand as an idea to fill in the spaces of our rhythmic grid.

We hope this tutorial helps you learn how to play the level two arrangement of “Some Day My Prince Will Come.” To access the arrangements visit mdecks.com

Interpreting Lead Sheets: How to Bring the Music to Life. Someday My Prince Will Come – Beginner’s LevelAre you tired of playing music from the Real Book that sounds robotic and lifeless? Do you want to make your music more engaging and expressive? If so, you need to learn how to interpret lead sheets.

In this video, we’ll take a deep dive into the Real Book and show you how to make the most out of its lead sheets. We’ll start by explaining why you shouldn’t take the lead sheets too literally. Instead, you need to think of them as a sort of impressionistic painting of the song. There’s a lot of context that is either implied or missing altogether, not to mention all the mistakes that can be found within the Real Book. Therefore, it’s up to you to provide context and make deliberate musical choices.

The fact that lead sheets aren’t dedicated to a specific instrument speaks to how much context is missing and how important it is for the player to provide this context. When you stop looking at the Real Book’s lead sheets as literal depictions of the songs, you’ll begin to make choices that make the music come alive.

But where do you start? In the video, we provide a literal interpretation of the lead sheet for the song “Someday My Prince Will Come.” We play everything in root position, which creates something that is both physically demanding and void of voice leading. Playing the melody in such a literal and simplified way does not do the music justice.

Instead, we show you a few simple and easy-to-implement techniques to make the music sound better. On the left hand, in level 1, we merely play each chord on the downbeat of each measure, using a combination of root position, inversions, and rootless voicings. This creates smoother voice leading and more musicality. We use inversions to create smooth voice leading and make it easier to play. We also implement rootless voicings, which are a common technique used in these standards.

We provide examples of how we use these techniques throughout the song. For instance, we use an inversion on a G7#5 chord in the fourth measure. This creates smoother voice leading from the Ebmaj7 to the G7#5 and makes it easier to play. We also use rootless voicings on Cm7 chords to create smoother voice leading and more musicality. In measure 8, we use an inversion on an F7 chord to lead nicely away from the C7 we came from and create a physically easier-to-execute movement.

In addition to these techniques, we also show you how to use rhythmic displacement to make the music sound better. We use a simple rhythmic displacement technique in measure 18, which displaces the melody slightly later than it was originally intended to be. We also use a dotted quarter-note rhythm in measure 19 to anticipate the melodic note.

By the end of the video, you’ll have a better understanding of how to interpret lead sheets and make the music come alive. You’ll know how to use inversions and rootless voicings to create smoother voice leading and make it easier to play. You’ll also know how to use rhythmic displacement to make the music more engaging and expressive.

If you want access to all of these arrangements (Beginner’s • Intermediate • Advanced • Pro) you can download them here: Someday My Prince Will Come in 4 levels

Part 2: Intermediate level on how to play Some Day My Prince Will Come from the Real Book is here: How to Play the Real Book: Level 2 Arrangement of “Some Day My Prince Will Come”

Promoting Shows and Engaging Fans with BandsintownWith 560,000 registered artists, Bandsintown is one of the largest artist services platforms in the world. 97% of the Top 500 artists in America are active on the platform.

Mastering Jazz Harmony: The Ultimate Exercise to Practice Target NotesAre you looking for an effective exercise to improve your understanding of jazz harmony and sharpen your improvisational skills? Look no further! In today’s video, we’ll explore the best exercise to practice target notes, a fundamental concept in jazz that can transform your playing.

Watch the entire lesson in video format (from the mDecks Music YouTube Channel)

The exercise consists of two steps: chord-tones and guide-tone lines. Let’s take a closer look at each one.

Step One: Chord-tones

Chord-tones are the notes that make up a chord, including the root, 3rd, 5th, and 7th (or 6th). By focusing on a single chord-tone and playing it over the entire tune, you’ll gain insight into the harmonic progression from a more linear perspective.

For example, if you choose to work on the 3rd of the chord, you would play the major third (E) over a Cmaj7, but over Cm7 you’d have to play Eb (the minor 3rd), and for a C7sus4 you’d have to play an F (the sus4). By doing this exercise for all chord-tones, you’ll memorize tunes and internalize chord progressions more deeply.

Step Two: Guide-tone lines

If you know your chord-tones well, you can move on to the more advanced step of guide-tone lines. Guide-tones are the 3rd (or the 4th in a sus4 chord) and the 7th (or the 6th in sixth chords). By creating a line that goes from guide-tone to guide-tone across the entire tune, you’ll trace the harmonic progression in the most effective way possible.

A good guide-tone line reveals the secrets behind the chord progression and offers the best picture of what a tune’s harmony is all about. By learning how to walk these guide-tones, you’ll improve your improvisational skills and train your ear like no other exercise.

To illustrate this, we’ll take a 2-5-1 progression (Dm7 – G7 – Cmaj7) and trace the guide-tones. The smoothest lines are F F E, and C B B. These two lines are tracing the 2-5-1 in a way that reveals what a 2-5-1 progression is all about.

By practicing both chord-tones and guide-tone lines, you’ll develop a deep understanding of jazz harmony and be able to improvise with greater fluency and ease. And if you want to take your practice further, check out our collection of Jazz Standards from the real book, all laid out for you with chord-tones, tensions, and lines. Visit our website mDecks.com for more information and to access a PDF with all the steps applied to “Alice in Wonderland”.

BTW, you can get the entire jazz standard repertoire with chord-tones, guide-tones lines and tensions on the mDecks website: The Target Notes Jazz Book

In conclusion, the exercise we shared with you today is a must-try for any jazz musician looking to take their playing to the next level. With consistent practice, you’ll master target notes and unlock the secrets of jazz harmony. Happy practicing!

Master Bebop Improvisation with ‘Bebop Lines You Should Know’Are you a jazz musician looking to take your improvisation skills to the next level? Look no further than “Bebop Lines You Should Know,” the must-have book for anyone serious about mastering the art of bebop improvisation.

Bebop is more than just a style of music – it’s a language, and this book covers everything you need to know to become fluent. From essential phrases to advanced concepts like Chromatic Approaches and Enclosures, you’ll learn the idiomatic patterns that define the genre.

The book features a carefully curated collection of bebop lines from legendary artists like Bud Powell, Kenny Barron, Wynton Kelly, and Bill Evans. With all workouts provided in every key, you’ll be able to internalize these lines and practice improvisation like a pro.

But that’s not all – “Bebop Lines You Should Know” also includes video lessons covering the basics of bebop improvisation, play-along backing tracks, and demos with the bebop lines performed on piano over the same backing track. You’ll be able to practice and perfect your improvisation skills in a variety of contexts, ensuring that you’re ready to perform in any situation.

Line #21 with variations based on a Bill Evans line over 8 measures.

To take your practice to the next level, the book includes a Mapping Tonal Harmony Pro XML file with progressions from the bebop lines, including classic tunes like My Foolish Heart and Misty. With this file, you can practice at different tempos, mute tracks, and/or change accompaniment styles. And if you don’t already have Mapping Tonal Harmony Pro, you can learn more about it and download it to get started.

Whether you’re a beginner or an experienced musician, “Bebop Lines You Should Know” is an indispensable tool for mastering bebop improvisation. So don’t wait – order your copy today and start your journey towards becoming a true bebop master!

Available for C, Bb and Eb Instruments. Download it today on mDecks.com

Mapping Tonal Harmony Pro CrashesThis is a list of crashes and issues in Mapping Tonal Harmony Pro 9 and how to solve them in different devices.

The app crashes when I hit play (or it sounds weird when playing backing tracks)

Solution. Check that the A.I. players range makes sense. Open the players menu and change the player to reset the voicings range. Then save the performance (on macOS just click on the SAVE button on the top menu, on iOS tap on the “box with an arrow”

Streaming, AI, Royalty Breakdown and Sync (Ari Q&A Part 4)This week Ari answers more of your questions! If you’d like to submit to our next round of questions, please sign up to our email list: www.aristake.com

Theo Katzman (of Vulfpeck) on Recording, Songwriting and Staying IndependentTo celebrate the third edition of How to Make It In The New Music Business, the Ari’s Take team collaborated with Shuttershot Productions to capture Ari Herstand’s special interview and Q&A with the incomparable Theo Katzman (of Vulfpeck). This episode was recorded live at The Grove’s Barnes & Noble in Los Angeles on January 17th.

Spotify Opens Up ‘Discovery Mode’ Wide Enabling Artists To Get More Listeners and Streams – For a CostDiscovery Mode is basically a program where Spotify will help get you more listeners by inserting your songs into other artists’ radio stations and general “autoplay” sessions - for an additional commission. More on the commission part in a minute. 

Artists Made $100,000,000 in Sales on Their WebsiteNow of course you’re wondering if in 2023 you need a website when you’ve got Instagram, Spotify, Facebook and TikTok.

The short answer is yes. Yes, you absolutely need a website in 2023.

Succeeding on Twitch as a MusicianDanielle Allard is a singer-songwriter, multi-instrumentalist and Twitch Partner.

Webinar: "Breathing life into your mixes using Dynamic Panning" by #SoundParticles.
#spatialaudio #Mixing #SoundDesign #Production

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.