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Repetition Counting

Lesson 9/87 | Study Time: 5 Min
Course: Complete Drums
Repetition Counting

Repetition Counting

There are two different methods of counting, each performing a different function. When learning a new musical idea, the count is dependant upon the notes within that musical idea, e.g.:

This is a standard counting system.

Once comfortable, many repetitions of the musical idea are needed in order to master it. Practice is basically a two part process:

  • Learning
  • Repetition

Learning requires standard counting. Repetition requires repetition counting.

Repetition counting, as the name suggests, is a counting system designed to count each repetition of a musical idea. When counting to one hundred there are three differences between repetition counting and the regular numeric counting system:

  • Seven becomes Sen
  • Eleven becomes Len
  • Most ty syllables are omitted

Each of these changes reduces syllables. The reduction in syllables facilitates greater speed and rhythm when counting. Counting thirty bars of * time using the repetition counting system would look like this:

The following features can be seen from the previous text:

  • Counting to twelve can be done monosyllabically (using only one syllable).
  • From thirteen onwards all number counts use two syllables.
  • Each syllable falls on a new quarter note, e.g.:
  • From twenty onwards, the syllable ty only appears on the first count of each group of ten.

Counting using one syllable per beat (quarter note) serves two functions:

  • It allows us to count at a greater speed.
  • It instills and reinforces a constant rhythmic quarter note pulse.

Using a maximum of two syllables for all number counts up to one hundred (the one hundredth bar would be counted ) allows this counting system usage with any time signature, e.g., % , ^ * etc.

Counting beyond one hundred is impossible without using a lot of syllables per number count. Bear in mind, in * time at a tempo of 60 BPM, counting one hundred repetitions would take 6.666 minutes. However, if multiple lots of one hundred repetitions is required, use the same counting system but keep track of each group of one hundred reps (repetitions) by hitting a different sound source, e.g.:

 

The repetition counting system has the following advantages:

  • The brain sorts by differences. Giving each repetition a different "name" makes each rep different and also lays down markers of time. This facilitates greater memory retention.
  • It instills and reinforces a constant quarter note pulse.
  • It strengthens our level of concentration.
  • It allows us to count at great speed.
  • It adds an extra degree of difficulty to a musical idea, as our brain needs to concentrate on another task. Task splitting the brain into greater divisions forces it to learn a musical idea to the degree where less concentration is needed to execute that idea.
Craig Lauritsen

Craig Lauritsen

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Class Sessions

1- INTRODUCTION 2- The Sixteenth Note 3- The Eighth Note 4- Paradiddle Permutations 5- Triplets 6- The Quarter Note 7- Rudiments 8- How to Practice 9- Advanced Independence - Concept 1 10- Solo 33 11- GLOSSARY OF MUSICAL TERMS 12- Method of Practice 13- Adapting Time Signatures 14- Eighth Note Triplets 15- Solo 30 16- Solo 17 17- Solo 34 18- Sight Reading Exercise 7 19- Explanation of Notation 20- Counting 21- Sight Reading Exercise 3 22- Solo 31 23- Solo 22 24- Thirty Second Notes 25- Solo 18 26- The Drum Fill 27- Open Hi-hat Exercises 28- Sixteenth Note Hi-hat Patterns 29- Sight Reading Exercise 4 30- Equipment 31- Solo 35 32- The Paradiddle 33- Solo 23 34- Sixty Fourth Notes 35- Solo 19 36- Solo 36 37- Solo 1 38- Holding the Drum Sticks 39- Ghost Notes 40- Solo 32 41- Solo 6 42- Solo 29 43- Solo 2 44- Rolls 45- Solo 36 46- Shuffle Rhythm 47- Triplet Accent Studies 48- 3 Steps to Stick Control 49- Solo 20 50- Solo 7 51- Solo 3 52- Fill-ins Featuring Bass Drum 53- Note Values 54- Stickings Around the Kit 55- Solo 21 56- Open and Closed Hi-hats 57- Solo 24 58- Solo 8 59- Paradiddle Partials 60- Syncopation 61- Swing Rhythm 62- Joining Stickings Together 63- Understanding Note Values 64- The Tie 65- The Flam 66- <span class="symbolA">%</span> Time 67- Advanced Syncopation 68- Repetition Counting 69- Solo 25 70- The Metronome 71- Sticking Interpretation 72- Solo 9 73- Solo 26 74- Solo 4 75- Triplet Sticking Interpretation 76- Linear Patterns 77- Rudiments of music 78- Creating a Drum Part 79- Time Signatures 80- Solo 27 81- Solo 5 82- The Dot 83- Polyrhythms 84- Repeat Signs 85- Solo 28 86- Solo 10 87- Dynamics

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