Acount off,count in, orlead-in is a verbal,[1] instrumental or visual cue used in musical performances and recordings to ensure a uniform entrance to the performance by the musicians[2] and to establish the piece's initialtempo,time signature and style.[3][4] Although acount off usually lasts just one or twobars,[2] it is able to convey the music's style,tempo, anddynamics from the leader (such as theconductor,bandleader orprincipal) to the other performers.[3] A count off is generally in the same style of the piece of music—for instance, a joyfulswing tune should have an energized count off.[5] A misleading lead-in, one which indicates a different meter than that of the piece, is afalse trail.[6][7]Counting off is evident inmusical genres other thanWestern classical andpopular music; GhanaianethnomusicologistJ. H. Kwabena Nketia has observed the benefits of such techniques inWest African music.[8]
A two-bar percussive and verbal count off played on a closedhi-hat
A silent count off, such as those given by an orchestral conductor using abaton, may be given as a value "in front" (e.g. "eight in front" refers to a count off of eight beats).[9]
In recorded music, the final two beats of the count off (one, two, one—two—three—four) are often silent to avoidspill onto the recording,[2][10] especially if the piece has apickup. The count off is typically edited out after the recording has finished.[11] There are, however, instances where the count off is deliberately kept on a recording—sometimes even editedonto a recording. In the case of "I Saw Her Standing There" byThe Beatles, the count off was edited onto a differenttake of the song.[12] A recorded count off can be made by musicians through an open microphone or through the studio'stalkback system,[13] the latter being done by non-performing personnel such as theproducer orengineer. The inclusion of a count off in a studio recording may give the impression of a live performance, as on the Beatles' "Sgt. Pepper's Lonely Hearts Club Band Reprise" (1967).[6]
The song's verses accent upbeats on beats 1 and 3 and vice versa for the rest of the song, so drummerJesse Sailes counts it off as "one—two—one, two, three".
Paul McCartney's count off of "one—two—three—four!" was recorded on the ninth take of the song, and then edited on to a different take comprising the rest of the song;[16]George Martin liked the "spirited" raw live feel of the count off and decided to have itspliced onto a better performance.
George Harrison performs two count offs on the track—one is to set the tempo (and is most audible on the fourth beat), and another is for effect (it is off-tempo, "secretive-sounding", and layered with coughing) which was added later.[18]
The version recorded for theLive Peace in Toronto 1969 album features Lennon beginning with a count off in German: "eins, zwei, ein—zwei—drei—vier".[20]
The third track from Lennon's posthumousMilk and Honey album features a "characteristically free-form" count off of "un, deux, eins—zwei—hickle—pickle".[21]
The song begins with a count off by Lennon. "One, two, three, four".
"You'll Never Meet God (If You Break My Heart)" byCarly Hennessy (2001)
Co-written by the New Radicals' Gregg Alexander, the song echoes his introduction to 1998's "You Get What You Give" with a count off of "one, two, one–two–three–OW!"[22]
During the final two bars of a four-bar drum introductionBono counts off the song with "unos, dos, tres, catorce" – Spanish for "some, two, three, fourteen".[23][24][25]
^Dunscomb, J. Richard; Willie L. Hill (2002).Jazz pedagogy : the jazz educator's handbook and resource guide. Van Nuys, CA: Alfred Publishing Co. p. 63.ISBN0-7579-9125-4.
^abDunscomb, J. Richard; Willie L. Hill (2002).Jazz pedagogy : the jazz educator's handbook and resource guide. Van Nuys, CA: Alfred Publishing Co. p. 157.ISBN0-7579-9125-4.
^Vradenburg, written by Wilbur M. Savidge, Randy Lee (2001).Everything about playing blues (1st ed.). Springtown: Praxis. p. 40.ISBN1-884848-09-5.{{cite book}}: CS1 maint: multiple names: authors list (link)
^Weir, Michele (2005).Jazz singer's handbook : (the artistry and mastery of singing jazz; includes jazz standards recorded by Chet Baker ...). Van Nuys, CA: Alfred Publishing Co. p. 76.ISBN0-7390-3387-5.
^abShepherd, John (ed.) (2003). "Lead-in",Continuum Encyclopedia of Popular Music of the World: Part 1 Performance and Production, p.610.ISBN978-0-8264-6322-7.
^Van Der Merwe (1989), p.157. Cited in Shepherd (2003).
^London, Justin (2004).Hearing in time psychological aspects of musical meter. Oxford: Oxford University Press. p. 53.ISBN0-19-803645-0.
^Tedesco, Tommy (2008).For Guitar Players Only. Van Nuys, CA: Alfred Publishing Co. p. 84.ISBN978-1-4574-3052-7.
^Sharp, J.D. (1992).Home recording techniques : a step-by-step guide to multitracking and mixing. Van Nuys, CA: Alfred Publishing Co. p. 29.ISBN0-88284-495-4.
^Everett, Walter (2009).The foundations of rock from "Blue suede shoes" to "Suite : Judy blue eyes". Oxford: Oxford University Press. p. 353.ISBN978-0-19-971870-2.
^Lewisohn, Mark (1988).The Beatles recording sessions (1st ed.). New York: Harmony Books. p. 9.ISBN0-517-57066-1.
^Hurtig, Brent (1988).Multi-Track Recording for Musicians. Van Nuys, CA: Alfred Publishing Co. p. 90.ISBN1-4574-2484-3.
^Millward, Simon (2007).Fast Guide to Cubase 4. Tonbridge: PC Publishing. p. 47.ISBN978-1-906005-00-9.
^abBarrett, Don (2009).Digital Performer 6 power! : the comprehensive guide (Guide (Instructor's) ed.). Boston, MA: Course Technology Cengage Learning. p. 115.ISBN978-1-59863-907-0.
^Calhoun, Scott (2011).Exploring U2 : is this rock 'n' roll? : essays on the music, work, and influence of U2. Lanham, Md.: Scarecrow Press. p. 225.ISBN978-0-8108-8157-0.
^Díaz, Itxu (2005).Haciendo Amigos. Ediciones DaylNet. p. 84.ISBN84-611-1498-1.
^Kootnikoff, David (2012).Bono : a biography. Santa Barbara, Calif.: Greenwood. p. 140.ISBN978-0-313-35509-7.
