A Dictionary of Music and Musicians/Triple Time

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A Dictionary of Music and Musicians
edited by George Grove
Triple Time
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​TRIPLE TIME (Fr. Mésure à trois temps; Ger. Tripeltakt). The rhythm of three beats in a bar, the accent falling on the first beat. In quick tempo this single accent is sufficient, but in slow and expressive movements a second weaker accent is generally required to avoid monotony. This second accent is variously placed by different writers, some assigning it to the second beat (see Hauptmann 'Harmonik und Metrik,' p. 226) while others place it on the third. [Accent, vol. i. p. 12.] The truth appears to be that it may occupy either position according to the requirements of the phrasing. A comparison of the following examples will serve as a proof of this.

Beethoven. Trio, op. 70, no. 2.

{ \relative e' { \time 3/4 \key aes \major \partial 4 ees4 | ees( aes) aes | aes( g) aes | bes2( c8 aes) | bes } }


Beethoven. Quartet, op. 130 (Alla danza tedesca).

{ \relative d'' { \key g \major \time 3/8 d8(\p\< b\> d16)\! r | g,4.\p | a16\< b c8 e16\! r | g,8(\p fis4) | } }


When a bar of triple time consists of two notes only the accent is always on the longer note. Compare the first and last bars of the following example:—

Schumann. Estrella (Carneval, op. 9).

{ \relative a' { \key aes \major \time 3/4 <aes aes'>2^> <c c,>4^( | <b b,> <d d,> <fis fis,>) | <g g,>4. <bes, bes,>8_. q4_. | q4_. <aes aes,>2^> } }


The kinds of triple time in general use are marked with the figures 3-8, 3-4, and 3-2, indicating respectively three quavers, crotchets, or minims in a bar. A time of three semiquavers, marked 3-16, is also occasionally met with (Schumann, 'Versteckens,' op. 85); and in old music a time of three semibreves, called tripla major, and indicated by a large figure 3. [For an example of this see vol. iii. p. 766.] When three bars of triple time are united in one, as in 9-8, etc., the time is called 'compound triple.' [See Compound Time.]
[ F. T. ]
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