One, two, three, one, two, three, one, two, three, one, two, three.
It’s amazing to me (though perhaps it shouldn’t be) how many dances have signatures of three.
Ok, enough with the doggerel, it was making my head ache anyway.
But it’s true enough that an amazing amount of music written specifically for dancing is in 3/4, 3/8, or 6/8 time (not Rock of course which is relentlessly 4/4, or the Polka in 2/4). I suppose I should take a moment and explain Time Signatures.
Signatures are a notational convention to let the musician know “how many beats are in each bar and which note value constitutes one beat.” They look like fractions, but mean something entirely different. The beats per bar is the first number and can really have any value, bars are a mere divisional convenience (like periods), though they do effect the accenting. The second number, the note value, is almost uniformly 4 or 8. This corresponds to the duration of each individual note where open notes without a staff last for 4 beats, open with staff 2, solid with staff 1, solid with staff and a flag 1/2, solid with staff and 2 flags 1/4, etc.
What makes it confusing is that solid with staff is called a quarter note because it conventionally (in 4/4 time) takes up a quarter of the bar and a whole note (open, no staff) takes up a whole bar (I think I’ll have some of Chuck Pierce’s Prestone now).
Anyway how many beats also gives you an idea of how the music is naturally accented. Common (4/4) time is accented DAH, duh, Dah, duh with the 3rd beat slightly less prominent than the first. Cut time (think Sousa) the same except twice as fast though it’s easy enough to transpose into a 2/4 Polka but then you lose the inherent subtlety of the 3rd beat as all the down (first) beats are accented the same. Confused yet? I sure am.
If the beats per bar are divisible by 3 (3/4, 6/8) each bar is accented DAH, duh, duh (or in the case of 6/8 DAH, duh, duh, Dah, duh, duh). The 6/8 accenting really gives you a better feel for the rhythm of the music as actually played and while you can duplicate it notationally in any signature with the Triplet, if you’re going to be using it with frequency being divisible by 3 is a time saver.
Personally it’s this coincidence of quarter time and third time in the 6/8 and 12/8 signatures that make them intellectually attractive to me though I’m not a composer, have barely any theory, and as a performer am in the words of the immortal Leonard Falcone himself- “Hopeless.”
One of the defining characteristics of modern and post-modern “art” music is using creative time signatures, eccentric accents, and syncopation to distance itself from this “tyranny of the barline” and Stravinsky was one of the strongest proponents, but you can’t dance to it very well.
Back to dancing. Wikipedia implicitly likens “classical” dancing to Square Dancing and now that I think about it I can see the parallels. Performed in groups like a line dance, participants were expected to know the moves with a certain interchangability as opposed to individual efforts like the mosh pit mania of Rock or even the stylized but solo (well, pairs) of contemporary ballroom styles.
Excluding the Polka the 3 most popular types were the Minuet and the Scherzo (an uptempo, long format Minuet), and the Waltz all in 3/4 time. What made the Waltz particularly scandalous was not really the music, which was actually fairly conventional, but the fact that the dance is performed in the “closed” position where you are looking at your partner and can even give them a squeeze if nobody’s watching.
So this morning I’ve decided to illustrate each of those 3 types and as a bonus I’m including Le Sacre du printemps which was so revolutionary in its noise that it nearly caused a riot.
For a Minuet I’ve chosen a piece by Jean-Baptiste Lully who introduced the trio section to the form.
Menuet pour Trompettes
For a Scherzo I’ve selected a piece by Schubert who finished much more than he left unfinished and along with Beethoven really popularized this format in “art” music.
Scherzo Presto from Symphony #6
And for the Waltz you can’t go wrong with some Johann Strauss. This is Opus 4, Kettenbrücke-Walzer, about a suspension bridge.
Kettenbrücke-Walzer
Oh, Stravinski.
Those kids. They’ll listen to any kind of cacophony.
Oblgatories, news, and blogs below.