Introduction to Offbeat Count

Offbeat Count is a practical method that clarifies groove in music, deepens understanding, and improves musicianship by counting the beat numbers aloud in English half a beat early while listening to or performing music.

It is an extremely simple practice method, yet this alone can dramatically improve musical performance ability. The simple act of “counting half a beat early” contains endless depth. It is only that one thing, but mastering it often takes many long years.

It can be used not only as a practice method to improve practice efficiency, but also during actual performance to raise musicality and stability, and even to recover when unexpected events make you lose the rhythm.

Native speakers of mora-timed rhythm languages have three blind spots that become obstacles when learning stress-timed rhythm languages: “they cannot distinguish consonants from vowels,” “they cannot perceive consonant duration,” and “they cannot perceive that consonants precede vowels.” Offbeat Count was developed first and foremost to compensate for these three blind spots. Practicing the pronunciation of Offbeat Count dramatically improves English listening ability. It also makes it possible to perceive the principles of groove in performance clearly, and improves the stability of groove in performance.

Even for people whose native language is not a mora-timed rhythm language, it is beginning to be used around the world as a guide for clearly perceiving and acquiring principles of groove that usually remain almost unnoticed.

Introduction

This book explains how to practice Spoken Offbeat Count.

Spoken count means counting the beats aloud while performing. This is a very important form of basic musical training.

Offbeat Count means counting one eighth note early. Offbeat Count is a counting method devised by this book’s author, Oka Atsushi. It is well suited to foundational training for performing pop music influenced by African-origin music such as jazz, gospel, blues, and R&B.

Offbeat Count is a counting method that places emphasis on generating stable groove, an important element in music influenced by African-origin traditions such as jazz.

First, Offbeat Count will reveal the true nature of the various offbeats that exist in music, and then explain how to acquire them reliably. Below, we will look at each type of offbeat and its counting method step by step.

How to Read the Notation

Various counting methods can also be written in staff notation, but here I will explain the counting method using the symbols “0-9,” “&,” “E,” “A,” and “・.”

0-9	one, two… (read in English)
&	and
E	ee
A	ah
・	(rest / do not read)

Rhythms That Communicate and Rhythms That Do Not

The final goal of Offbeat Count is to move beyond Head-Alignment Rhythm and become able to maintain Tail-Alignment Rhythm.

Head Alignment means rhythm that does not communicate well.

People other than musicians do not understand it
People say they do not really get it
Even you yourself do not feel it is rhythmic

By contrast, Tail-Alignment Rhythm is rhythm that clearly conveys feeling to the listener.

Rhythm that clearly conveys feeling = Tail-Alignment Rhythm does not reach only your bandmates and close friends. It also reaches complete strangers, children and elderly people who have no interest in music, and people across borders and languages. Whatever feeling is put into it, that feeling is reliably communicated to anyone — if only you can perform with rhythm that clearly conveys feeling = Tail-Alignment Rhythm.

That is the difference between Head-Alignment Rhythm and Tail-Alignment Rhythm.

There is a very clear mathematical difference between Head-Alignment Rhythm and Tail-Alignment Rhythm. Below, we will learn what that difference is.

Seen another way, Tail-Alignment Rhythm is what groove really is. You may think you are grooving intensely, but if the rhythm becomes head-aligned, the groove disappears mercilessly.

On the other hand, even if trouble happens during a band performance, as long as you can calmly maintain tail alignment in the rhythm, the groove remains. Along with that groove, the feeling of having overcome the trouble will surely reach the listener.

Why Rhythm Training Is Hard

This book is something like “How Anyone Can Easily Become Muscular.” In reality, becoming muscular is very simple: “Do 500 push-ups every day for at least two years.” It is very simple, yet nobody can do it. Everyone knows they would get stronger if they did it. Anyone can do it, and yet in reality almost nobody does.

Muscle training consumes physical strength. Rhythm training does not consume physical strength, but it does consume mental strength. After rhythm training, you may feel so exhausted that you cannot move for a while. To stop getting that tired, you need to endure it for some time until you become accustomed to it.

There is no way to improve except by continuing steady individual practice, but it is hard to keep practicing alone. So I plan to gradually start rhythm-training practice sessions in various places around Tokyo. I will announce them on Facebook, Twitter, my blog, and so on, so I would appreciate your participation when that happens.

Basics

On-the-Beat Count

On-the-Beat Count means counting the beats by assigning numbers directly to the beats.

1
(one)

2
(two)

3
(three)

4
(four)

Practice: Try counting along with your favorite music using On-the-Beat Count.

Measure-Number Count

Measure-Number Count means counting the measure numbers together with the beat numbers. The following example shows On-the-Beat Count performed with measure numbers.

1 (one)	2 (two)	3 (three)	4 (four)
2 (two)	2 (two)	3 (three)	4 (four)
3 (three)	2 (two)	3 (three)	4 (four)
4 (four)	2 (two)	3 (three)	4 (four)

Practice: Try counting along with your favorite music.

Count with “&”

Count with “&” means counting the beats while saying “&” halfway between the numbers.

Practice: Try counting along with your favorite music.

Offbeat Count

This Offbeat Count is the most important counting method in this book. Below, we will apply Offbeat Count in various patterns. Learn it thoroughly here.

Offbeat Count means doing the same thing as On-the-Beat Count half a beat earlier. Up to now we have been counting the numbers at the same time as the beats. If you clapped at the same time as the beats, it would have looked like this.

Clap		Clap		Clap		Clap
1	・	2	・	3	・	4	・

But what happens if you do the same thing half a beat earlier?

	Clap		Clap		Clap		Clap
1	・	2	・	3	・	4	・	1

As you can see, all of the beats now land on the dots. And all of the numbers now land on the offbeats.

Assigning numbers to the offbeats and counting the offbeats: that is Offbeat Count.

The greatest feature of Offbeat Count is that even fast rhythm can be counted at half speed. Even when there is a fast passage of eighth notes, you can count it at the same speed as quarter notes. In other words, just by counting the quarter notes, you can obtain the speed of the eighth notes.

By using this Offbeat Count like a lever, you can create stable groove with a real sense of speed.

Practice: Try counting along with your favorite music.

What Is Cooperative Groove

Here I would like to explain Cooperative Groove. Cooperative Groove is the foundation of all counting.

The Basics of Cooperative Groove

Up to now, all of the beats have been performed by one person.

1
(one)

2
(two)

3
(three)

4
(four)

But what if two people cooperated to perform it?

1 (one)	・	3 (three)	・
・	2 (two)		4 (four)

By dividing the parts in this way, each person can perform the beats at half speed. This is called Cooperative Groove. The rhythms of modern pop music are fundamentally Cooperative Groove.

When performing Cooperative Groove alone, do not forget that each sound is originally being played by a different person. In other words, change the tone color, change the accents, or use different pitches. Performing Cooperative Groove in this way by a single performer is called solo groove.

Basically, solo groove is a special technique. Efficiently performing rhythm through the cooperation of two or more people: that is the essence of groove. In other words, basically you cannot generate groove alone.

The History of Cooperative Groove

Back before the drum set existed, one person handled one percussion instrument and everyone performed cooperatively. Cooperative Groove was born from many people cooperating to generate groove in this way. This video explains the history of the drum set, and the history of the drum set is so closely tied to jazz that it can almost be called the history of jazz itself. As the drum set developed, it became possible to generate complex rhythm single-handedly, and improvisation developed as well. In this way, performers emerged who could perform complex Cooperative Groove single-handedly, and as a result the rhythm called swing was born. Nowadays it is no longer unusual to generate Cooperative Groove alone. But originally it was a special technique.

Cooperative Groove and Offbeat Count

Offbeat Count can be understood as generating Cooperative Groove through two agents: “your voice” and “your handclaps.”

Standalone Rhythm

Rhythm that is not Cooperative Groove is called standalone rhythm. Rhythm without cooperation is not groove, so it is not called groove.

On the Names of Beats

Beat (Division) and Sub-Beat (Subdivision)

Suppose there is a span of steady time that has not been divided at all, as follows.

・・・

This is called a measure.

Now suppose this measure is divided into a fixed number of parts, like this.

This is called a beat (division).

Now let us divide each beat into a fixed number of parts as well.

・

These beats after further division are called sub-beats (subdivisions).

On-the-Beat / Offbeat

When several beats are alternately classified into two groups, the beat that appears first is called the on-the-beat, and the beat that appears later is called the offbeat.

Suppose there are four beats, like this.

Now divide them alternately into two groups.

1	・	3	・
・	2		4

At this time, the one that appears first is called the on-the-beat and the one that appears later is called the offbeat. In other words, beats 1 and 3 are on-the-beat, while beats 2 and 4 are offbeats.

That is why it is called Offbeat Count: because it assigns numbers to the offbeat positions when viewed at the subdivision level.

Head-Alignment Rhythm and Tail-Alignment Rhythm

From the next section onward, we begin practicing Offbeat Count. As explained earlier, the goal of Offbeat Count practice is to move beyond Head-Alignment Rhythm and become able to maintain Tail-Alignment Rhythm. There is a very clear difference in shape between Head-Alignment Rhythm and Tail-Alignment Rhythm.

Where Is the Difference in Shape?

Suppose there are four beats, and you clap only once.

1	2	3	4
Clap!

Most likely, many people would clap on beat 1. But what if you clap one more time here, for a total of two claps? Most people would probably clap like this.

1	2	3	4
Clap!	Clap!

You placed the sound after the basic sound. Unfortunately, this arrangement makes the rhythm very easy for the listener to predict, and it tends to make the listener sleepy. This is Head-Alignment Rhythm.

So how can you surprise the listener and wake them up?

4	1	2	3	4
Clap!	Clap!

You placed the sound before the basic sound. In this arrangement, the sound arrives earlier than the listener expects, which makes it harder to predict and wakes the listener up. This is Tail-Alignment Rhythm.

If you clapped three times in Head Alignment and Tail Alignment respectively, it would look like this.

Beat	1	2	3	4	1	2	3	4
Head Alignment					◎	o	o
Tail Alignment			o	o	◎

In this way, Head-Alignment Rhythm is characterized by constructing rhythm by always aligning the starting sound, while Tail-Alignment Rhythm is characterized by constructing rhythm by always aligning the ending sound.

With Head Alignment, it is enough to match only the starting point of the performance, so there is no need to make a plan before beginning to play the rhythm. But with Tail Alignment, you must match the ending point of the performance, so before you begin playing the rhythm, you need to plan in advance how many beats of rhythm you are going to play.

In other words, Tail Alignment requires more thinking during performance than Head Alignment.

First, you need to accurately feel the distance from the current moment to the “tail.” This is why count practice is necessary to master Tail-Alignment Rhythm.

Next, based on this sense of distance, you perform while thinking about how that distance should be divided rhythmically.

The goal of count practice is to increase this ability to think while performing in real time.

Let’s Look at Some Concrete Examples

I have prepared several videos that show the difference between Head Alignment and Tail Alignment as concrete examples.

Momotaro-san

Rock’n Roll

Calypso

Let’s Look at Some Actual Examples

Music with strong impact is often built from Tail-Alignment Rhythm.

A classic example of high-impact Tail Alignment is this.

Beethoven’s Fifth. The first three notes rush in ahead, and the last note lands in tail alignment.

Yano Akiko - Ramen Tabetai. It is a song memorable for its high-impact rhythm.

Most jazz improvised lines are made of Tail-Alignment Rhythm. In some pieces, the theme itself is built from Tail-Alignment Rhythm from the very beginning.

Duke Ellington - In A Mellow Tone

The rhythm of this piece is also built through tail alignment.

Basic Exercises

On-the-Beat Count

First, practice On-the-Beat Count as the basis.

Practice: Try counting along with your favorite music.Target practice time: 3 hours

On-the-Beat Count with Measure Numbers

Once you get used to On-the-Beat Count, practice counting with measure numbers.

1	&	2	&	3	&	4	&
2	&	2	&	3	&	4	&
3	&	2	&	3	&	4	&
4	&	2	&	3	&	4	&

Practice: Try counting along with your favorite music.Target practice time: 3 hours

Offbeat Count (Simple Eighth-Note Offbeat)

Compared with On-the-Beat Count, the difficulty rises sharply.

Correct Example

							1
・	2	・	3	・	4	・	1

There are several points to watch out for.

Incorrect Example

・

This is the most common mistake in Offbeat Count. Counting the numbers before the dots is very difficult — that is the biggest hurdle in Offbeat Count. If you let your attention slip even a little, the feel shifts immediately, and you end up counting the numbers after the dots as in the example above. You must pay the closest attention to keep the numbers from coming late.

The eighth notes come first. The quarter notes come later.

Practice 1: Try counting along with your favorite music. (20 hours)Practice 2: Try counting while the metronome clicks on beats 2 and 4. (20 hours)Practice 3: Try counting while playing yourself. (20 hours)

Offbeat Count (Basic Form / Eighth-Note Offbeat)

This is Offbeat Count with “&” inserted on beats 2 and 4. This counting method is the basic form of Offbeat Count practice. It will appear repeatedly in many forms in the practice ahead, so learn it properly here.

							1
・	2	&	3	・	4	&	1

On-the-Beat Count (Quarter-Note Offbeat)

This is practice in counting the quarter-note offbeat first.

						4	・
1	・	2	・	3	・	4	・

The spoken count that comes out is exactly the same as normal On-the-Beat Count. But you must count with clear awareness that in your mind you count 4 first. For example, when counting along with the music, do not count “1・2・3・4・” in your mind. Count strictly in the order “4・1・2・3・”.

Offbeat Count (Quarter-Note Offbeat)

This is practice in counting the quarter-note offbeat first.

						&	1
・	2	&	3	・	4	&	1

An “&” lands at the position of beat 4. Count while clearly feeling that this “&” comes first. Count along with the music while clearly being aware of “&1・2&3・4&1”.

Until you get used to it, it is also fine to count like this.

						&	1
・	・	&	3	・	・	&	1

Everything except beats 2 and 4 has been omitted. Count it as “&1・・&3・・”. By concentrating your mind on beats 2 and 4 in this way, burn into yourself the feeling that beat 4 precedes beat 1 and beat 2 precedes beat 3.

Offbeat Count (Quarter- and Eighth-Note Offbeats)

This is practice in counting the quarter-note offbeat and the eighth-note offbeat first at the same time.

					4	&	1
・	2	&	3	・	4	&	1

Count along with the music while clearly being aware of “4&1・2&3・”. An “&” lands at the position of beat 4. And before that “&”, a “4” comes in. Count while clearly feeling that “&” comes before “1”, and that “4” comes before “&”.

On-the-Beat Count (Half- and Quarter-Note Offbeats)

This is practice in counting the half-note offbeat and the quarter-note offbeat first at the same time.

		2	・	3	・	4	・
1	・	2	・	3	・	4	・

The spoken count that comes out is exactly the same as normal On-the-Beat Count. But you must count with clear awareness that in your mind you count 2, 3, and 4 first. When counting along with the music, do not count “1・2・3・4・” in your mind. Count strictly in the order “2・3・4・1・”.

Offbeat Count (Half-, Quarter-, and Eighth-Note Offbeats)

This is practice in counting the offbeats of half notes, quarter notes, and eighth notes first at the same time.

	2	&	3	・	4	&	1
・	2	&	3	・	4	&	1

Count along with the music while clearly being aware of “2&3・4&1・”. Count while clearly feeling that “2&3” comes before “4&1”.

Offbeat Count (All Whole-, Half-, Quarter-, and Eighth-Note Offbeats)

This is practice in counting the offbeats of whole notes, half notes, quarter notes, and eighth notes first at the same time.

							1
・	2	・	3	・	4	・	(2)
・	2	・	3	・	4	・	(1)

This has exactly the same shape as the eighth-note offbeat. But it differs in that it is one full measure farther ahead. In order to perceive long offbeats accurately, you need to use Measure-Number Count. We will practice Measure-Number Count from the next section onward. Here, count along with the music while clearly being aware that “1・2・3・4・” is one measure early.

Offbeat Count with Measure Numbers

First, practice simply getting used to doing Offbeat Count and measure-number counting at the same time. In the exercises that follow, Offbeat Count with Measure Numbers will be used as the basic form.

							1
・	2	&	3	・	4	&	2
・	2	&	3	・	4	&	3
・	2	&	3	・	4	&	4
・	2	&	3	・	4	&	5
・	2	&	3	・	4	&	6
・	2	&	3	・	4	&	7
・	2	&	3	・	4	&	8

Practice 1: Try counting along with your favorite music. (3 hours)Practice 2: Try counting while the metronome clicks on beats 2 and 4. (3 hours)Practice 3: Try counting while playing yourself. (20 hours)

Offbeat Count (Measure Offbeat)

From here onward, we begin practicing offbeats longer than a whole note. To show that the rhythm begins one measure earlier, we start counting from measure 8.

							8
・	2	&	3	・	4	&	1
・	2	&	3	・	4	&	2
・	2	&	3	・	4	&	3
・	2	&	3	・	4	&	4
・	2	&	3	・	4	&	5
・	2	&	3	・	4	&	6
・	2	&	3	・	4	&	7
・	2	&	3	・	4	&	8

Offbeat Count (Measure + Quarter-Note Offbeat)

This is the same as Measure Offbeat, but you practice while being aware of counting “&” (the quarter note) before “8.”

						&	8
・	2	&	3	・	4	&	1
・	2	&	3	・	4	&	2
・	2	&	3	・	4	&	3
・	2	&	3	・	4	&	4
・	2	&	3	・	4	&	5
・	2	&	3	・	4	&	6
・	2	&	3	・	4	&	7
・	2	&	3	・	4	&	8

As with starting from “&8”:

start from “&8”
start from “4&8”
start from “2&3・4&8”

Practice each of these patterns as well.

Practice 1: Try counting along with your favorite music. (200 hours)Practice 2: Try counting while the metronome clicks on beats 2 and 4. (200 hours)Practice 3: Try counting while playing yourself. (200 hours)

Finishing Exercises

Up to this point, you have practiced while the metronome clicked on beats 2 and 4. By playing your instrument or voicing the count while the metronome clicked on beats 2 and 4, you should have been able to confirm the positions of beats 2 and 4 sufficiently.

Now try all of the practice you have done so far once again, but this time with the metronome on beats 1 and 3 instead of beats 2 and 4. Practice showing the attacks of beats 2 and 4 with your instrument alone, without relying on the metronome for those positions.

The point to watch is that when the metronome clicks on beats 1 and 3, you must clearly keep hearing your own instrument sound on beats 2 and 4 as coming first. If you use a metronome on beats 1 and 3, the moment you let your attention slip, beats 1 and 3 immediately start sounding as though they come first. Pay the closest attention to keep beats 1 and 3 from sounding first.

Also, try not to play your instrument directly on top of the metronome’s beats 1 and 3. Always take care to form Cooperative Groove between the metronome sound and your instrument sound.

(800 hours)

Summary

Counting aloud — that itself becomes groove. As your spoken count improves, your groove improves. As your groove improves, you groove even without holding an instrument. And once you pick up an instrument, you begin to groove on the instrument as well. Your instrument improves even though you were not practicing the instrument itself — spoken count has that kind of mysterious power.

Anyone can groove if they master spoken count.

It creates a hot groove that truly conveys your feeling.

Let us all groove hard together.

Oka Atsushi

Table of contents

Offbeat Count Theory