TAKADAMI SYSTEM STUDY

Takadimi is the system of rhythmic solfege used throughout the book.  It does for rhythm what ―do re mi‖ solfege does for pitch.  It gives us a way to label the parts of a rhythm and can make it easier both to understand and to perform.  Takadimi is beat oriented; that is, it assigns syllables based on the position of the note within the beat.  It is also pattern based.  Reading rhythm with Takadimi helps you learn to recognize rhythmic patterns and see groupings of notes, not simply read note to note.  Reading rhythm this way is similar to the way we read groups of letters as words and not one letter at a time.  The word ―takadimi‖ is similar to a pattern used in the complex system of chanted sounds used to learn Indian drumming.  Indian music is not metric in the way tonal rhythm is, and so its use in that system is entirely different from the way we use it here.

The Takadimi system as described in this book was developed in the early 1990s by several members of the theory faculty at Ithaca College in Ithaca, New York.  The article that introduced the system was co-authored by Richard Hoffman, William Pelto, and John W.

White, and titled ―Takadimi: A Beat-Oriented system of Rhythmic Solfege,‖ and published in the Journal of Music Theory Pedagogy (1994).  The article thoroughly explains the system and shows its relation to other similar system of learning rhythm.

I must thank my co-authors, Bill Pelto and John White, as well as the others who worked with us from the early stages of Takadimi, especially: John Benoit, Craig Cummings, and Timothy Nord.  I must also thank the many teachers in schools across the country who have successfully used Takadimi, and in so doing have continued to add to its pedagogical value.  Thanks are owed my colleagues at Belmont University who have used Takadimi and this book, especially Kris Elsberry, Deen Entsminger, Todd Kemp, Brent Gerlach, David Madeira, Caleb Weeks, and Margie Yankeelov.  Their insight and skillful application in the classroom have been both an inspiration and a very practical help.  Finally, I must thank the many students who have learned rhythm with Takadimi and showed us what worked and what didn‘t, and most of all, inspired us to keep trying.

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