.......but these get very difficult to enunciate even at medium tempos. The Konokol style of enunciating triplets/threes, i.e. "ta-ki-ta" has the advantage of being very easy to sing, but has the disadvantage of not counting beats.
or actually counting triplets and subdividing those into two..............
The latter works well when you're playing your sextuplets/16th triplets with single strokes as you can simply follow your lead hand playing triplets and fill in the spaces with the opposite hand.
Hi, some good examples here
Another question here and i think this won't be as easy to break down. Obviously 16ths and 16th triplets are either 4 or 6, even numbers, how do you count quintuplets and septuplets (5s and 7s)
I certainly don't understand this "counting" thing. Just fit the 2, or 3, or 4, or 5, 6, or 7, or 9, or whatever notes you have to fit inside the given pulse/quarter. Divide 1 by the amount of notes you've got to fit, or in other words, play the amount of notes you want with even spacing, and that's it. Counting can be useful, for example, when it's a 13-bar solo, or a beat that resolves every 7 bars, or whatever, but not for counting subdivisions, it's a different kind of counting.
I've never been a counter and the closest I some to it is making undignified boom-box hihat sounds like a bad metronome. For certain feels I've forever been corrupted by Terry Bozzio on Zappa's Big Leg Emma ... boogidy boogidy boogidy.
Primitive, I know, but I find it catchy.