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Takadimi

Takadimi

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Niño Francisco Alamo
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2K views4 pages

Takadimi

Takadimi

Uploaded by

Niño Francisco Alamo
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Learning rhythm with the TAKADIMI system of rhythm solfege i Common Patterns (beat-length) wed | 20 | | TT Examples (A tain parentheses is nat are always ta-di and ta-ka-di-mi Subdivision ou fi |2/ 3 voiced but may be thought or “felt.") VIN ART TATE TR |. Mai J 8 ba os Skane do dma BD MAME NIE LENE BED a As Jil l 134 214 44 PII ld de. ta (ta) dita (ta) ci mi ta ka di (ta) imi di ta (Ga) dimita DELL LE TIT TUN 2. A wwvw.takadiminet Takadimi Compound Meter — Compound meters have dotted beat notes, and the beat is always voiced with ta. The division and subdivision are always ta-k-da and ta-va-Ki-di-da-ma, Any dotted note value can be the beat. Three common values are shown. Time sig Beat Division Subdivision eo 6 9 12 J J d aaa & hi de fava i Gi da mma °9. 6 9 12 J 8 & oid va Hi di da ma 296 9 12 16 16 16 a. iad o ef Kida vo GG damm Common Patterns (beat-length) wet [Add dd] dd eae a eo a Pra al 10a i di da ma Sep Examples SL Lil de le dL (ITI. eT. It DET 2. I Messe ed le Md dll ddd Mie. (3) Koda (ta) KI da da LI INL JN 2 NII VIII Nd dt fda twkidat ta da te Kidatadidata ta didatadidata da ta 18 J) SSI SIFT ITVS) TT. ld Osa e dime io canss Cha da eGo Gkiee Takadimi Advanced applications Duplets and triplets — Use the same syllables for any division of the beat into two or three. Ded aims IM dT Inn 1 a ditakidata ta di di takidata ta di ta mitakidata dim tadi tat The duplet in m. 3 is performed just like the others in mm. 2 and 4. The syllable di falls at the midpoint of the beat in both simple and compound meter. A duplet can be written either way WL. TN Oumomiimniw tl nb op kd@ d oo dau d akddt dt Two against three _a_d_ni Ta and di align at the beginning and midpoint of the beat in both simple and compound meters. Rhythms that involve both simple and compound divisions will share this attack point tava Ki di da ma “Two against three” rhythms will produce the composite thythm ta-ki-di-da, Work with the composite rhythm first, then emphasize the ta-di and ta-ki-da separately. Listening for the ta-ki-di-da composite will help ensure accuracy. ta kidi da Kid do ‘Changing meter — Changing meter can involve either the beat staying the same or the division staying the same. In this example the beat stays the same. Syllables can help make the distinction plain. The ta-ki-da triplet in m. 2 and the regular division of the beat in m. 3 will sound exactly alike, (-=4) RIQADI Ts 1 Sains & mtkdm t dmakd kde dé tkdde dt Irregular divisions — To perform irregular divisions of the beat, add a syllable to a common pattern, i Aa OWA A @ od Biadmi @kidata do tava ki di da matita dim @ Asymmetric meters — Asymmetric meters combine simple and compound divisions. Keeping the divisions equal will produce beats of varied lengths. LT) Sele Sql. FN el a Kd a dé a dt Bo kidd a ‘Takadimi is helpful in teaching other advanced techniques including super-tuplets (triplets and duplets over more than, cone beat), 4:3 relationships, syncopations, and metric modulation. Takadimi Rhythms for practice — Always practice rhythm with appropriate musical expression. Use vocal inflection to show lines and gestures. 1. Here's an example in simple meter. Can you improvise a second 4 measure phrase to go along with this one? ll NI NIN ITT I Ak oll 2. Cut time or “alla breve” indicates the half note ts the beat, In this case there are two half notes in a measure, so 2/2. Med Jil) JO 2 ITNT Nd Ne Ul ota di 3. Perform the rhythm as a duet, or for a challenge, speak the top line on syllables and clap or tap the bottom line. ng UTI Nd de de ode SoD PPP ER Por (Eee Par ol EPE BP o Teaching with Takadimi Takadimi is beat-oriented and pattern based. ‘The beat is always ta regardless of notation; the syllables help students learn common beat-length patterns. It can be used pre-notationally with preschool children and can help in learning highly complex rhythm throughout the college curriculum and beyond. ‘Takadimi is great for reading rhythm but it can also be used apart from notation. Try translating the rhythm of popular songs and jingles to takadimi syllables. “Call and response” games are a fun way to practice rhythm patterns and learn important musical skills at the same time. Improvising on syllables is a valuable learning tool. Improvise a short pattern—one or two measures, or even a phrase—then have a student improvise a response. Takadimi syllables encourage play, and play is a powerful learning tool The Rhythm Book, a comprehensive college-level rhythm textbook based on Takadimi is available. Contact Richard Hoffinan at [email protected] for more information. For an excellent guide to using Takadimi in the elementary classroom, see Micheal Houlahan and Philip Tacka, Kodiily Today: A Cognitive Approach to Elementary Music Education (New York: Oxford University Press), 2008, The Takadimi system of rhythm pedagogy was developed by Richard Hoffman, William Pelto, John W. White along with a number of colleagues at Ithaca College in the 1990s. More information on the system, its origins, and pedagogical rationale can be found in Hoffman, Pelto, and White, “Takadimi: A Beat-Oriented System of Rhythm Pedagogy,” Journal of Music Theory Pedagogy, 1996. This guide may be reproduced but may not be sold, and must retain this copyright notice. Copyright © 2009 by Richard Hoffman www.takadimi.net

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