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ARTICLES IN THE BOOK

  1. 6/8 time
  2. A (note)
  3. Abc notation
  4. Accidental
  5. Articulation
  6. B (note)
  7. Bar
  8. Beam
  9. Braille Music
  10. Breath mark
  11. Canntaireachd
  12. Chord
  13. Cinquillo
  14. Clef
  15. Coda
  16. Copyist
  17. Da capo
  18. Dal segno
  19. Dotted note
  20. Double whole note
  21. Drum tablature
  22. Dynamics
  23. Eight note
  24. Ekphonetic notation
  25. Fermata
  26. Figured bass
  27. Fingering
  28. Flat
  29. Ghost note
  30. Glissando
  31. Gongche notation
  32. Grace note
  33. Grand staff
  34. Graphic notation
  35. GUIDO music notation
  36. Guido of Arezzo
  37. Halfnote
  38. Harmony
  39. Hundred twenty-eighth note
  40. Italian musical terms used in English
  41. Kepatihan
  42. Key
  43. Keyboard tablature
  44. Key signature
  45. Klavarskribo
  46. Leadsheet
  47. Ledger line
  48. Legato
  49. Letter notation
  50. Ligature
  51. Marcato
  52. Mensural notation
  53. Mensurstriche
  54. Metre
  55. Modern musical symbols
  56. Musical notation
  57. Musical scale
  58. Musical terminology
  59. Music engraving
  60. Music theory
  61. Nashville notation
  62. Natural sign
  63. Neume
  64. Note
  65. Note value
  66. Numbered musical notation
  67. Numerical sight-singing
  68. Octave
  69. Ornament
  70. Parsonscode
  71. Partbook
  72. Pizzicato
  73. Portamento
  74. Prolation
  75. Qinpu
  76. Quarter note
  77. Rastrum
  78. Rehearsal letter
  79. Repeat
  80. Rest
  81. Rhythm
  82. Rythmic mode
  83. Rhythmic notation
  84. Saptak
  85. Scientific pitch notation
  86. Shape note
  87. Sharp
  88. Sheet music
  89. Sixteenth note
  90. Sixty-fourth note
  91. Slash notation
  92. Slur
  93. Sound painting
  94. Staccatissimo
  95. Staccato
  96. Staff
  97. Swung note
  98. Tablature
  99. Tacet
  100. Tempo
  101. Tenuto
  102. Thirty-second note
  103. Tie
  104. Time signature
  105. Time unit box system (TUBS)
  106. Tongan music notation
  107. Triple metre
  108. Tuplet
  109. Unfigured bass
  110. Virtual music score
  111. Vocal score
  112. Whole note
  113. Znamennoe singing
 



MUSICAL NOTATION
This article is from:
http://en.wikipedia.org/wiki/Triple_metre

All text is available under the terms of the GNU Free Documentation License: http://en.wikipedia.org/wiki/Wikipedia:Text_of_the_GNU_Free_Documentation_License 

Triple metre

From Wikipedia, the free encyclopedia

 

Triple metre (or triple meter, also known as triple time) is a musical metre characterised by a primary division of 3 beats to the bar, usually indicated by 3 (simple) or 9 (compound) in the upper figure of the time signature, with 3/4 and 9/8 being the most common examples. The upper figure being divisible by three does not of itself indicate triple metre; for example, a time signature of 6/8 usually indicates compound duple metre, and the 12/8 sections of Beethoven's Missa Solemnis are compound double with a primary division of four to the bar.

It is reasonably common in ballads and classical music but much less so in genres such as rock & roll and jazz. Although jazz writing has become more adventurous since Dave Brubeck's seminal Time Out, the majority of jazz and jazz standards are still in straight four time.

Triple time is common in formal dance styles, for example the waltz, the minuet and the mazurka.

Movements in triple time characterised the more adventurous approach of 17th and 18th Century music, for example the Sarabande, which originated in Latin America and appeared in Spain early in the 16th Century, became a standard movement in the suite during the baroque period. The baroque sarabande is commonly a slow triple rather than the much faster Spanish original, consistent with the courtly European interpretations of many Latin dances. The sarabande form was revived in the 20th Century by composers such as Debussy, Satie and, in a different style, Vaughan Williams (in Job) and Benjamin Britten (in Simple Symphony)

Tunes in triple metre tend to be more lyrical and less martial than those in double. For example, the British national anthem, God Save the Queen, is in triple metre - this is highly unusual for a national anthem, almost all are in march time.

In Mozart's Requiem triple time is used in the Recordare, Hostias and Agnus Dei as a counterpoint to the more robust two- and four-in-a-bar of the rest of the work, giving these movements a more reflective feel.

Triple metre in song

There are many classical songs in triple metre. Bist du bei Mir, from Bach's Notebook for Anna Magdalena Bach (but probably originally by Stölzel) is in triple metre; Bach's Jesu, joy of man's desiring is an interesting composite with the melody marked in a compound triple 9/8 and the underlying harmony in 3/4.

Franz Schubert composed several lieder in triple time, including, from his 1824 set Die Schöne Müllerin, the songs Am Feierabend, Der Müller und der Bach, Des Müllers Blumen, Halt!, Morgengruss, Tränenregen and Ungeduld.

In contemporary genres triple metre is much less common, notable examples being "She's Leaving Home" and the verses (but not the chorus) of "Lucy in the Sky with Diamonds" from The Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. Notice that both these examples are essentially ballads.

In hymns and other religious works it is still common, with tunes such as Dave Bilborough's Abba, Father following from more traditional melodies such as Slane (adapted form a traditional Irish melody) and Cloisters (written in the 16th Century)

Triple metre continues to be used in modern pop music.

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