Page:A Dictionary of Music and Musicians vol 4.djvu/137

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TIME.

with equal propriety, in a Bar of ^ or in one of g Time. But the effect produced will be alto- gether different ; for, in the first case, the notes will be grouped in three divisions, each contain- ing two Quavers ; while, in the second, they will form two groups, each containing three Quavers. Again, twelve Crotchets may be written in a Bar of , or " Time ; twelve Quavers, in a Bar of Jj, or " or twelve Semiquavers, in a Bar of 4, or ^ ; the division into groups of two notes, or three, and the effect thereby produced, de- pending entirely upon the facts indicated by the Time- Signature in other words, upon the ques- tion whether the Time be Simple or Compound. For the position of the greater Accents, in Simple and Compound Time, is absolutely identi- cal ; the only difference between the two forms of Rhythm lying in the subdivision of the Beats by 2, in Simple Times, and by 3, in Compound ones. Every Simple Time has a special Com- pound form derived directly from it, with the greater Accents the only Accents with which we are here concerned falling in exactly the

��TIME.

��121

��same places; as a comparison of the foregoing examples of Alia Breve and ", C and *, Alia Cappella and , J and g, j and Jg. and & and 6 6 , and JJ, \ and {j, g and ^, will dis- tinctly prove. And this rule applies, not only to Common and Triple Time, but also to Quint- uple and Septuple, either of which may be Simple or Compound at will. As a matter of fact, we believe we are right in saying that neither of these Rhythms has, as yet, been at- tempted, in the Compound form. But such a form is possible : and its complications would in no degree interfere with the position of the greater Accents. 1 For the strongest Accent will, in all cases, fall on the first Beat in the Bar; while the secondary Accent may fall, in Quin- tuple Time whether Simple or Compound either on the third or the fourth Beat ; and in Septuple Time Simple or Compound on the fourth Beat, or the fifth to say nothing of other places in which the Composer would be perfectly justified in placing it. 2

In a few celebrated cases more numerous, nevertheless, than is generally supposed Com-

��DANZA TEDESCA.

��Ex.l.

��From ' II Don Giovanni.'

���GAVOTTA,

��MENUETTO.

��ANDANTINO.

��Ex.2.

��SPOHR, 'Die Weihe der Tone/

��g

ni

��^

��ALLEGRO.

�� �BMSS

�H- g <* L * w -*- ^ " p "

�-

�jT ANDANTINO cometopra.

� �etc.

� � � � ��i Compound Quintuple Bhythm would need, for Its Time-Slgna- i means satisfactory 'rule of thumb,' that all fraction! with a nume- ture. the fraction ^ or J(j ; and Compound Septuple Bhythm, ^ or | rator greater than 5 denote Compound Times.

!;. Tyros ars sometimes tai

��i sometimes taught the perfectly correct though by no 1 2 See TIME-BEATINO.

�� �