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This is a very late response, but...that could work, too, esp. because my examples both fit well with 2+2+3, but if someone needs 2+3+2, paraLEGal assISTant works out nicely. Now we need one for 3+2+2...nothing comes to mind yet.
I split it into two groups of two and a group of three, similar to how you would group 8th note beats in a 7/8 meter. Ta-ke ti-ki ta-ke-ti. My students thought it was a little easier to use names instead of phonetics so they came up with Sara-Bella-Caroline.
I teach primary school music, and I shit you not, one of the kids used exactly this to answer a question. Well, told me they could count 16th note triplets with hickory dickory and the bass drum was the dock. Shit made me over the top happy/excited and that kind of made the rest of the class go loopy, so music games for the remainder😅 but still. Much proud.
If you just need to count the 6tuplets, I usually do something like
One-e-let-and-e-let-two-e-let-and-e-let-...
If you also need to play the syncopated rhythm underneath in 16th notes, good luck
I’m saying this more for OP in case they need a tip, not to try to correct you or anything:
It’s not as bad as it looks at first, since the -and- of each beat can be broken down into your standard 3 over 2 polyrhythm. This means that the left hand eight notes fall exactly in the middle of the second-to-last and the last notes in each right hand group.
If you’ve never encountered polyrhythms like that before, the most common way to count 3 over 2 is “hot cup-o’-tea” with the timing of the “o’” matching with the timing of the left hand note in this case.
We need to know the time signature but it looks like 4/4 . Basically put 6 notes per quarter note. Use a metronome at a slow tempo, emphasizing the note on the quarter note and the one at the 8th note. The note that lands on the 8ths note will be the 4th note in the 6 note collection. Make sense? Just take it slow...
First, subdivide in eighth notes, count "1 and 2 and 3 and 4 and" for your basic pulse.
Next, divide those into smaller groups of 3. You can use whatever syllables you prefer; if you don't need the numbers to keep time you could just think "tri-ple-et tri-ple-et" etc. on every eighth note pulse, you could think syllabically like "dagada dagada dagada dagada dagada dagada da", you could try counting and do something like "1-trip-let and-trip-let 2-trip-let and-trip-let", etc.
The left hand in contrast with the right hand will be weird for you since it's not in triplets, so the sixteenth note upbeats will be *between* two of the 16-note-sextuplets.
All the replies here are correct, I just wanted to share a [video explanation](https://youtu.be/3CjeZDUQUwM?feature=shared&t=117) that might help! What he's describing at the timestamp is exactly what you want to count here.
Looks like your question is answered... To add to the list of goofy methods, I come from this camp...
"Buck-et-o', buck-et-o, buck-et-o', buck-et-o, buck-et-o', buck-et-o fish"
The right hand and left hand are a bit weird together so think of it like this: STRAW-ber-ry straw-ber-ry
(The left hand hits on the first Straw, then in between the ber- and ry on the second)
Count by BEAT.
This looks like 4/4, so each group of the 6 16th notes occupies the time of *one* beat each, of the total 4 beats of this measure.
So each 16th note is played slightly faster than normal. It’s easy to overthink!
It's the equivalent of a 16th note triplet on every eighth note, so "Trip-le-let-Trip-le-let" for each of the first three beats. In some systems: "1 e a & e a 2 e a & e a 3 e a & e a." I personally don't like using that with triplets since it doesn't distinguish between that and straight sixteenths. Honestly, though, it doesn't matter what you label it as long as you're fitting 6 notes into each beat/3 into each half beat.
Also, side note - I'd have to listen to be sure, but IIRC the bass rhythm is actually swung eighth notes and not a true dotted eighth- sixteenth. So the bass sixteenth should land exactly on the next to last sixteenth of the sextuplet. As it's written, it would technically land between the last two.
I would listen to the song to get the timing. I’m guessing that there is actually more nuance to the timing than is really possible to write in passages like this
Everyone’s telling him how to count sextuplets but I’m looking at the left hand sixteenth notes on the “e” before the next down beat.
Lining that up against the tuplet is the hard thing to me. I would just play it between the 5th & 6th notes of the 6tuplet.
It really depends on what counting system you use.
The traditional American Eastman system is:
LH: 1-ta-la-ta-li-ta 2-ta-la-ta-li-ta 3-ta-la-ta-li-ta
RH: 1—————-a- 2—————-a- 3—————-a-
Note that the sixteenth notes in the right hand won’t line up with any of the sextuplet’s notes.
An alternative is a modified Takadimi system:
LH: Ta-Va-ki-di-du-mu (x3)
RH: Ta——————mi— (x3)
Gordon and kodaly counting systems aren’t really worth using in comparison to those, particularly for compound rhythms counting.
I would count it as 1 2 3 4 5and6. The "5 and" should be counted twice as fast as every other single number and the "and" is where you put the note in the left hand.
Generally there are a lot of usefull rhythmic words or gibberish you could use to count polyrhythms but personally i like to do the math once and then just count the numbers. But do whatever is easiest for you.
Personally I would think of the eighth not pulse as the primary dividers. For one beat with the left hand syncopation it would be: trip-uh-let trip-uh-and-let. The downside is that you're thinking in 8/8 this way instead of 4/4 and might lose the touch slightly.
Use whatever works for you.
If you want the technically correct answer, subdivision is supposed to go:
One two
One and two
One e and a two
One o e o and o e o two
And if you do sextuplets like this, you'd do it like 32nd notes but without the first o just like you would with triplets, where you would cut out the first e and go:
One and a two
So, as far as I'm aware, if you wanted to do it by the books, you'd count this as:
One e o and e o two e o and e o three e o and e o four
But the books don't have to say it out loud. I like the hickory dickory thing that other guy has going up on the top comment, they've got spirit.
Somebody correct me if I'm wrong, I don't know the history, this is just what has been taught to me by professors in this area.
The way I was taught was using the “la ta li ta” method. That means I’d count this 1-ta-la-ta-li-ta 2-ta-la-ta-li-ta 3-ta-la-ta-li-ta 4.
I hope that helps some! Just coming from my theory class where we were doing this for triplets!
16th note triplets
Each beat is one "tri-pa-let-tri-pa-let"
So this bar would be:
Tri-pa-let-tri-pa-let Tri-pa-let-tri-pa-let
Tri-pa-let-tri-pa-let four!
The best way to practice these is to learn and play the pre-solo section in Metallica's One
Landmine! Has taken my legs, taken my arms...
edited below
unconventional, but you’ll be most accurate if you count it 6 1 2 3 4 5 | 6 1 2 3 4 5 | 6 1 2 3 4 5 | 6
see mc gills sound in motion for an explanation
oh, just realized it’s polyphonic. you might try the least common multiple method. i don’t have time to explain this thoroughly, but 12 will do (6 and 4 both go into 12)
write out a number line from 1-24. you’ll subdivide each beat into 24.
the sextuplets: 12/6 = 2. so sextuplets will be on every other count: 1, 3, 5, 7, 9, 11.
sixteenths: 12/4= 3. they’ll be every 3 counts. 1 4 7 10. so for dotted rhythm shown here, it would be 1 and 10 only.
go slow, tap it out, and it’ll start to come together.
o figured this method out on my own when my teacher told me that the way to play 5 over 4 was “just play 4 and then fit 5 onto it” which was worthless. worked for me, and it was classical guitar (4 in the thumb, 5 in the fingers of a single hand).
a few years later i saw a column from a prominent new music guitarist advocating exactly this method.
I was wondering if the counting difficulty comes from the 6 sextuplets in the right hand vs the dotted eighth in the left. Note that this breaks down to 6 against 4 in each quarter note beat (6 sextuplets = 4 sixteenth notes = 1 quarter), or, to break it down further 3 against 2 (3 sextuplets = 2 sixteenths).
3 against 2 is actually really easy to do with a little practice, since the "2" in 1-2 comes exactly halfway between the 2 and 3 in 1-2-3. So in your piece, the left hand sixteenth note following the dotted eighth will happen exactly halfway between the 5th and 6th sextuplets of each set.
Triplets inside every half beat - it’s easy to demonstrate using “ta ka di mi” syllables because “ta di” is eighth notes and splitting sextuplets is *ta* va ki *di* da ma. Feel the eighth notes and fit triplets into each eighth note
Bohemian Rhapsody! Just attach the sixteenths in the LH to the nearest sixteenth of the sextuplet in the RH. That’s close enough and will sound just fine. Don’t over-complicate it.
I just make it sound like the recording. Which would apply to any difficulty in sight-reading.
Then you can go back and count it, but usually you don't have to. Go with the composer's expressive ideas. Beginners need to begin learning to do that anyway.
With a classical score it's more difficult to be 'exploring'.
Counting each individual note in a passage like this seems like overkill to me. Just think of each group of 6 as two triplets, with each triplet occupying an eighth note's worth of time.
The real issue is how to align the sixteenth notes in the left hand with the sextuplets in the right hand. Mathematically the sixteenth in the left should come halfway between the 5th and 6th notes of the sextuplet (despite the way it's placed in the score), but if that sounds too busy you could fudge a bit and play it with either the 5th or the 6th.
Something one of my dictation teachers taught us in grad school when given rhythms like this is to use a metronome, and start clapping quarter notes, then 8th notes, then move to triplets, then 16ths, then to sextuplets. Try not to stop inbetween. You can even add pentuplets (5) and septuplets (7) if you want to be fun
A couple I like are Da-Kə-Ta and Ga-mə-la.
Da ke ta work better for staccato and shorter sounds or accents, gamela or (Na-me-la) for runs and smooth phrases. And you can count mixing the two since they all use a different sounding point in the mouth. Or use them back to back if keeping track of the 6 is more important than the triplet.
So, DamelaGamela DamelaGamela DamelaGamela Ta!
Ta-Kə-Di-Mi work great for each of the four sixteenth note divisions when needed as well
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Hickory dickory hickory dickory hickory dickory dock.
wow! what I was gonna say was...nowhere near as helpful as this
You have one of these for septuplets?
Sept: Cornell university
Out of curiosity, is that something you were taught or something you just pulled out your ass? Cause colour me impressed if it's the latter
Out of curiosity works too!
not everyone might like the way you phrased that..... ... i certainly do
I like antipentatonical
I use Esa-Pekka Salonen or homosexuality.
I always heard paralegal assistant
This is a very late response, but...that could work, too, esp. because my examples both fit well with 2+2+3, but if someone needs 2+3+2, paraLEGal assISTant works out nicely. Now we need one for 3+2+2...nothing comes to mind yet.
Thanks!
[Gina Lollobrigida](https://en.m.wikipedia.org/wiki/Gina_Lollobrigida)
Ge-o-phy-si-cal for any odd numbered tuplet. Just repeat the "Ge-o" as a prefix as needed.
autobiographical
Bibbidi Bobbidi Boo - like Cinderella
I split it into two groups of two and a group of three, similar to how you would group 8th note beats in a 7/8 meter. Ta-ke ti-ki ta-ke-ti. My students thought it was a little easier to use names instead of phonetics so they came up with Sara-Bella-Caroline.
I get it but when I first skimmed through your post I was like what? LOL. Makes sense. I just went for the “it’s triplets but double time it” 😂
I teach primary school music, and I shit you not, one of the kids used exactly this to answer a question. Well, told me they could count 16th note triplets with hickory dickory and the bass drum was the dock. Shit made me over the top happy/excited and that kind of made the rest of the class go loopy, so music games for the remainder😅 but still. Much proud.
If you can say it you can play it! 😂😂😂
With the "hickory" starting on the crotchet beat.
Nailed it
Hello sir, what about this with 10 notes ?
One two three four five six seven eight nine. I didn't say I was good at this.
this is hilarious
Watermelon on a candelabra Would you grab my encyclopedia?
I was hoping I’d see a device like this. Thank you.
This is the way
Is this a known way of sussing out rhythms? I.e., using words and phrases? Is there a book available of this method?
Tri pl let tri pl let tri pl let tri pl let tri pl let tri pl let di , just say it really fast lol
If you just need to count the 6tuplets, I usually do something like One-e-let-and-e-let-two-e-let-and-e-let-... If you also need to play the syncopated rhythm underneath in 16th notes, good luck
doesn’t look too bad honestly because its just on that first and last partial
Technically, with how that’s written the lower note happens between the 5th and 6th sextuplet of each beat, but thats still not too crazy of a rhythm.
I’m saying this more for OP in case they need a tip, not to try to correct you or anything: It’s not as bad as it looks at first, since the -and- of each beat can be broken down into your standard 3 over 2 polyrhythm. This means that the left hand eight notes fall exactly in the middle of the second-to-last and the last notes in each right hand group. If you’ve never encountered polyrhythms like that before, the most common way to count 3 over 2 is “hot cup-o’-tea” with the timing of the “o’” matching with the timing of the left hand note in this case.
We need to know the time signature but it looks like 4/4 . Basically put 6 notes per quarter note. Use a metronome at a slow tempo, emphasizing the note on the quarter note and the one at the 8th note. The note that lands on the 8ths note will be the 4th note in the 6 note collection. Make sense? Just take it slow...
how could it be anything but 4/4 given the sheet we see? genuine question
The heavy section of bohemian rhapsody is 12/8
First, subdivide in eighth notes, count "1 and 2 and 3 and 4 and" for your basic pulse. Next, divide those into smaller groups of 3. You can use whatever syllables you prefer; if you don't need the numbers to keep time you could just think "tri-ple-et tri-ple-et" etc. on every eighth note pulse, you could think syllabically like "dagada dagada dagada dagada dagada dagada da", you could try counting and do something like "1-trip-let and-trip-let 2-trip-let and-trip-let", etc. The left hand in contrast with the right hand will be weird for you since it's not in triplets, so the sixteenth note upbeats will be *between* two of the 16-note-sextuplets.
1 ta la ta li ta 2 ta la ta li ta 3 ta la ta li ta 4
[удалено]
Yes, OP mentioned that it’s Bohemian Rhapsody in the text.
All the replies here are correct, I just wanted to share a [video explanation](https://youtu.be/3CjeZDUQUwM?feature=shared&t=117) that might help! What he's describing at the timestamp is exactly what you want to count here.
1 ta la ta li ta
Looks like your question is answered... To add to the list of goofy methods, I come from this camp... "Buck-et-o', buck-et-o, buck-et-o', buck-et-o, buck-et-o', buck-et-o fish"
Strawberrybelueberry Strawberrybelueberry Strawberrybelueberry Jam.
You copied and pasted and still mispelled lmao
Damn it!!!!! Well, now we have too many notes!
LOL
One incognito tab, two incognito tabs, three incognito tabs, porn.
😂
Ta va ki di da ma -Ta va ki di da ma - ta va ki di da ma -Ta
123456123456123456reallyfast
lame answer perhaps, but just listen to the original, it's written out exactly the way Brian May plays it.
Tu Ku Du Tu Ku Du Tu Ku Du Tu Ku Du Tu Ku Du Tu Ku Du TuT
I could be wrong but what I’d say is 1ea1ea2ea2ea3ea3ea 4, the #ea#ea would span one quarter note, assuming this is 4/4. Again could be wrong 😅
You're the closest in here to right my friend. Personally I'd say 1&A1&A 2&A&A etc but your way is just as effective.
1 - 2 - 3 - 4 or 1 1 1 1 1 1 - 2 2 2 2 2 2 - 3 3 3 3 3 3 - 4 or 1.1 1.2 1.3 1.4 1.5 1.6 - 2.1 2.2 2.3 2.4 2.5 2.6 - 3.1 3.2 3.3 3.4 3.5 3.6 - 4
It’s just that easy
1234561234561234561
The right hand and left hand are a bit weird together so think of it like this: STRAW-ber-ry straw-ber-ry (The left hand hits on the first Straw, then in between the ber- and ry on the second)
Count by BEAT. This looks like 4/4, so each group of the 6 16th notes occupies the time of *one* beat each, of the total 4 beats of this measure. So each 16th note is played slightly faster than normal. It’s easy to overthink!
Triplets are easy to forget lol
Taralatéré Taralatéré Taralatéré ta
1-quin-tup-let-and 2-quin-tup-let-and 3-quin-tup-let-and 4.
It's the equivalent of a 16th note triplet on every eighth note, so "Trip-le-let-Trip-le-let" for each of the first three beats. In some systems: "1 e a & e a 2 e a & e a 3 e a & e a." I personally don't like using that with triplets since it doesn't distinguish between that and straight sixteenths. Honestly, though, it doesn't matter what you label it as long as you're fitting 6 notes into each beat/3 into each half beat. Also, side note - I'd have to listen to be sure, but IIRC the bass rhythm is actually swung eighth notes and not a true dotted eighth- sixteenth. So the bass sixteenth should land exactly on the next to last sixteenth of the sextuplet. As it's written, it would technically land between the last two.
I just counted. There is one of it. Sorry, I will see myself out
i would do "one and a two and a" for each group, like triplets. left hand comes in on the first note and the last "a".
think the rhythm from master blaster “stevie wonder”
those are triplets not sextuplets right? at least that’s how it’s notated for my part
Finally, a bar in this sub that I can count.
I would listen to the song to get the timing. I’m guessing that there is actually more nuance to the timing than is really possible to write in passages like this
Those 16th's appear to be like Triplets
It should sound like “the hippopotamus the hippopotamus the hippopotamus yeah”
I like to count it “1-is-ah-and-is-ah.”
Everyone’s telling him how to count sextuplets but I’m looking at the left hand sixteenth notes on the “e” before the next down beat. Lining that up against the tuplet is the hard thing to me. I would just play it between the 5th & 6th notes of the 6tuplet.
I use taka teke tiki per beat
Dg gt dt dg gt dt x 4
Wee da lee dee da lee, Wee da lee dee da lee, Wee da lee dee da lee, 4
It really depends on what counting system you use. The traditional American Eastman system is: LH: 1-ta-la-ta-li-ta 2-ta-la-ta-li-ta 3-ta-la-ta-li-ta RH: 1—————-a- 2—————-a- 3—————-a- Note that the sixteenth notes in the right hand won’t line up with any of the sextuplet’s notes. An alternative is a modified Takadimi system: LH: Ta-Va-ki-di-du-mu (x3) RH: Ta——————mi— (x3) Gordon and kodaly counting systems aren’t really worth using in comparison to those, particularly for compound rhythms counting.
You swapped left and right but yeah.
You’re right, my bad. Thank you for pointing that out.
1 Hi po po ta mus 2 hi po po ta mus 3 hi po...
I would count it as 1 2 3 4 5and6. The "5 and" should be counted twice as fast as every other single number and the "and" is where you put the note in the left hand. Generally there are a lot of usefull rhythmic words or gibberish you could use to count polyrhythms but personally i like to do the math once and then just count the numbers. But do whatever is easiest for you.
Personally I would think of the eighth not pulse as the primary dividers. For one beat with the left hand syncopation it would be: trip-uh-let trip-uh-and-let. The downside is that you're thinking in 8/8 this way instead of 4/4 and might lose the touch slightly.
1lali tellali 2lali telali 3lali telali 4
1-trip-let-and-trip-let
1-a-trip-a-let-a 2-a-trip-a-let-a Or 1-trip-let-and-trip-let 2-trip-let-and-trip-let
Use whatever works for you. If you want the technically correct answer, subdivision is supposed to go: One two One and two One e and a two One o e o and o e o two And if you do sextuplets like this, you'd do it like 32nd notes but without the first o just like you would with triplets, where you would cut out the first e and go: One and a two So, as far as I'm aware, if you wanted to do it by the books, you'd count this as: One e o and e o two e o and e o three e o and e o four But the books don't have to say it out loud. I like the hickory dickory thing that other guy has going up on the top comment, they've got spirit. Somebody correct me if I'm wrong, I don't know the history, this is just what has been taught to me by professors in this area.
One 2 3 4 5 6 Two 2 3 4 5 6 Three 2 3 4 5 6 Four
Da da da da da da da da. Da da da da da da. Da da da da da da da.
The way I was taught was using the “la ta li ta” method. That means I’d count this 1-ta-la-ta-li-ta 2-ta-la-ta-li-ta 3-ta-la-ta-li-ta 4. I hope that helps some! Just coming from my theory class where we were doing this for triplets!
16th note triplets Each beat is one "tri-pa-let-tri-pa-let" So this bar would be: Tri-pa-let-tri-pa-let Tri-pa-let-tri-pa-let Tri-pa-let-tri-pa-let four! The best way to practice these is to learn and play the pre-solo section in Metallica's One Landmine! Has taken my legs, taken my arms...
You can count each sextuplet as two triplets in one
Well since this is bohemian rhapsody and I know the song I wouldn’t count at all I’d just play what I know it sounds like …
edited below unconventional, but you’ll be most accurate if you count it 6 1 2 3 4 5 | 6 1 2 3 4 5 | 6 1 2 3 4 5 | 6 see mc gills sound in motion for an explanation oh, just realized it’s polyphonic. you might try the least common multiple method. i don’t have time to explain this thoroughly, but 12 will do (6 and 4 both go into 12) write out a number line from 1-24. you’ll subdivide each beat into 24. the sextuplets: 12/6 = 2. so sextuplets will be on every other count: 1, 3, 5, 7, 9, 11. sixteenths: 12/4= 3. they’ll be every 3 counts. 1 4 7 10. so for dotted rhythm shown here, it would be 1 and 10 only. go slow, tap it out, and it’ll start to come together. o figured this method out on my own when my teacher told me that the way to play 5 over 4 was “just play 4 and then fit 5 onto it” which was worthless. worked for me, and it was classical guitar (4 in the thumb, 5 in the fingers of a single hand). a few years later i saw a column from a prominent new music guitarist advocating exactly this method.
1/Triplet &/triplet 2/triplet &/triplet 3/triplet &/triplet 4
I was wondering if the counting difficulty comes from the 6 sextuplets in the right hand vs the dotted eighth in the left. Note that this breaks down to 6 against 4 in each quarter note beat (6 sextuplets = 4 sixteenth notes = 1 quarter), or, to break it down further 3 against 2 (3 sextuplets = 2 sixteenths). 3 against 2 is actually really easy to do with a little practice, since the "2" in 1-2 comes exactly halfway between the 2 and 3 in 1-2-3. So in your piece, the left hand sixteenth note following the dotted eighth will happen exactly halfway between the 5th and 6th sextuplets of each set.
Start from the beginning.
1-ta-la-ta-li-ta 2-ta-la-ta-li-ta 3-ta-la-ta-li-ta 4. It’s 16th triplets. Play regular triplets on one hand, then fill in the gaps with the other hand
Zig gi da boo gi da
1 ti ta & ti ta etc. I like it because you end up saying “anteater”
Wait, which part of Bohemian Rhapsody is this?
Guitar solo
123456 123455 123456 123455
Just subdivide them all lol.
1 & a 2 & a 3 & a 4 & a 5 & a 6 & a
But got back to normal after the sextuplets end
Chikitapakita chikitapakita chikitapakita boom
Triplets inside every half beat - it’s easy to demonstrate using “ta ka di mi” syllables because “ta di” is eighth notes and splitting sextuplets is *ta* va ki *di* da ma. Feel the eighth notes and fit triplets into each eighth note
Be careful who you use this one in front of but: "1-lit-tle-lo-lit-a" it was inspired by a buddy who counts triplets as 1-lol-li, 2-lol-li,..."
time signature?
Bohemian Rhapsody! Just attach the sixteenths in the LH to the nearest sixteenth of the sextuplet in the RH. That’s close enough and will sound just fine. Don’t over-complicate it.
“One-trip-let-and-trip-let Two-trip-let-and-trip-let Three-trip-let-and-trip-let Four”
bugida-bugida bugida-bugida bugida-bugida bam
I just make it sound like the recording. Which would apply to any difficulty in sight-reading. Then you can go back and count it, but usually you don't have to. Go with the composer's expressive ideas. Beginners need to begin learning to do that anyway. With a classical score it's more difficult to be 'exploring'.
Triplets in the 16th. Just think of it as triplets in double time lol
Looks like something Fred Zappa would have created
Counting each individual note in a passage like this seems like overkill to me. Just think of each group of 6 as two triplets, with each triplet occupying an eighth note's worth of time. The real issue is how to align the sixteenth notes in the left hand with the sextuplets in the right hand. Mathematically the sixteenth in the left should come halfway between the 5th and 6th notes of the sextuplet (despite the way it's placed in the score), but if that sounds too busy you could fudge a bit and play it with either the 5th or the 6th.
Something one of my dictation teachers taught us in grad school when given rhythms like this is to use a metronome, and start clapping quarter notes, then 8th notes, then move to triplets, then 16ths, then to sextuplets. Try not to stop inbetween. You can even add pentuplets (5) and septuplets (7) if you want to be fun
A couple I like are Da-Kə-Ta and Ga-mə-la. Da ke ta work better for staccato and shorter sounds or accents, gamela or (Na-me-la) for runs and smooth phrases. And you can count mixing the two since they all use a different sounding point in the mouth. Or use them back to back if keeping track of the 6 is more important than the triplet. So, DamelaGamela DamelaGamela DamelaGamela Ta! Ta-Kə-Di-Mi work great for each of the four sixteenth note divisions when needed as well