Triple metre

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Compound triple drum pattern: divides each of three beats into three About this sound Play 
Simple triple metre beat on rock drum kit[1] About this sound play 

Triple metre (or triple meter, also known as triple time) is a musical metre characterized 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, 3/2, and 3/8 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 similarly 12/8 usually indicates compound quadruple.

It is reasonably common in ballads and classical music but much less so in traditions such as rock & roll and jazz. The most common time in rock, blues, country, funk, and pop[1] is quadruple. Although jazz writing has become more adventurous since Dave Brubeck's seminal Time Out,[citation needed] the majority of jazz and jazz standards are still in straight quadruple time[citation needed].

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

Movements in triple time characterized 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 duple meter[citation needed]. Consequently, for example, triple meter is rare in national anthems[citation needed] – the national anthems of the United Kingdom and United States being two notable exceptions.

In Mozart's Requiem triple time is used in the Recordare, Hostias and Agnus Dei as a contrast 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[edit]

There are many classical songs in triple metre. Bist du bei mir, from Bach's Notebook for Anna Magdalena Bach (but the melody 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 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), Cloisters (written in the 16th Century), and Amazing Grace.

Examples of triple metre in contemporary pop music[edit]

In contemporary pop traditions (Soul, Rap, R&B, Rock) triple metre is much less common but examples do exist. The verses of "Lucy in the Sky with Diamonds" from The Beatles' 1967 album, Sgt. Pepper's Lonely Hearts Club Band, "Manic Depression" from the 1967 album, Are You Experienced?, by Jimi Hendrix, "You Ain't The First" from the 1991 album, Use Your Illusion I, by Guns N' Roses, "Waltz #2(XO)" and "Waltz #1" from Elliott Smith's 1998 album XO, the verses of "3 Libras" from the 2000 album, Mer de Noms, by A Perfect Circle and "It's About Time" from Young the Giant's 2014 album, Mind over Matter.

SWV's R&B hit "Weak" mentions the lyrics "cause my heart starts beating triple time" but the song is in 4/4 time.

In film music, the score to Peter Pan by James Newton Howard is remarkable in that it is almost entirely written in triple meter.


  1. ^ a b Schroedl, Scott (2001). Play Drums Today!, p.42. Hal Leonard. ISBN 0-634-02185-0.