In popular music, the metre is most often quadruple,[1] but this does not mean that triple metre does not appear. It features in a good amount of music by artists such as The Chipmunks, Louis Armstrong or Bob Dylan.[2]
In jazz, this and other more adventurous metres have become more common since Dave Brubeck's album Time Out.[3][4][5] One noteworthy example of a jazz classic that employs triple metre is John Coltrane's version of "My Favorite Things".[6]
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I'm sorry if this has been posted before or is a dumb question, but I could not find it. I have two things I think could come together well, but one is in 3/4 while the other is 4/4. Do the gods of music theory allow this? If so, how can I do this without it sounding too jarring? Thanks in advance for your help!
The stations were all a little different: Some played more folk and Americana, others leaned toward indie and pop, several featured programs showcasing local and independent artists. "We are the last bastion of true music discovery on FM radio," says Mat Bates, Program Director at San Francisco's KFOG, a commercial AAA station. Trina Tombrink, vice president of promotion and artist development at Sony's RED music division, says she often used to hear AAA described as "crunchy."
In short, AAA has become a tastemaker. Tombrink says that means it gets a lot of attention from record labels: "There is probably more music serviced to AAA than any other format." There are now more than 100 AAA stations nationwide, evenly split between commercial and non-commercial, including some NPR member stations.
"I grew up right outside of Los Angeles, and so we got every kind of station that you can imagine, all these different music genres," Ward says. "My vision of music is wrapped up in those memories: You switched the dial and it becomes something else entirely."
Here are some ideas based on my very imperfect understanding of Yusef Lateef's "triple diminished" approach to 12-tone improvisation. I'm not sure how he improvised with it in real time (though it seems from what I've read that he did) but the results certainly sound interesting and usable.
The first page is what I take to be triple diminished lines. Three diminished seventh chords seperated by half steps form a disjoint cover of the chromatic scale; you arrange them in a sequence then play a line that chooses one note from each chord in turn without repeatition, forming a 12-tone row.
I'm not sure whether I can use these ideas as is, or how well they represent what Lateef meant by the term "triple diminished", but they're certainly interesting. I'd welcome any mroe info from someone who knew or studied with Lateef, or who knows where he may have written about this approach in more detail.
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So, I was working on my music training course (coming out for the first time sometime in May/June, pending disaster; sign up here if you're interested) and was curious on the break down of all the music; how much of it was duple and how much of it was triple. I popped them all into a graph and it was so interesting that I had to share! FYI: this list is not exhaustive, but, for your purposes of teaching on the fly, it's probably as exhaustive as you want it to be! lol (Feel free to email me if you think of music that should be in the course, and it's not!)
The first thing that I found interesting was how much of the music that we use in the studio is triple meter based! Notice that the 3/4s are 40% and the 6/8s are 13.3%. First thought is that added up, they're only 53.3%. That's just over half, not so crazy, right? But then, if we add in the compound time pieces (9/9, 7/8 and the 12/8 depending how you count it), we're looking 58.3%.. Almost 60% of the music we use is triple meter. If you find yourself drifting there, it's no wonder! With a little bit of mental math, you can figure out that the duple meter selection is therefore, only 41.7% of the music that you have to pick from. Again, it becomes so obvious why teachers end up in triple meter often!
A second interesting observation is that there are 7, give or take, tricky rhythms to count in the triple meter, while the duple meter contains 10, give or take. Percentage wise, 39% of the triple meter family is tricky to count, while 71% of the duple meter is tricky. That is insane! No wonder we gravitate to the triple meter music, if you're not confident in your ability to count and mark some of this music, you could be avoiding it and defaulting to the 3s simply because of the high rate of 'I don't know how to count/use it' factor!
And, at first, I thought that he was "wrong". After all, since the Theory Syllabus for the Royal Conservatory of Music only requires that students know naturals, flats, double flats, sharps and double sharps, (not a triple flat or a triple sharp), but doesn't that mean that those are the only accidentals out there?
We are only limited by the limits we put on our imagination. Therefore, notes can indeed be raised by chromatic semitones well past the double flat or triple flat and the double sharp or triple sharp! (But whether we want to or not is another discussion.)
How much fun was that to play? (Did you play it?) Just because we do not see the Triple Flat in everyday music does not mean it doesn't exist. (However, I don't think I would want to use it on a regular basis!)
P.S. - Join the conversation! Have you ever seen a Triple Flat or a Triple Sharp in music? Have you or your students ever composed a piece that uses Triple Flats or Triple Sharps? Please share your experience with us.
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Study objective: Binaural audio induces sedation and reduces pain and anxiety in surgical patients. This study tested the hypothesis that dexmedetomidine requirement for adequate sedation during spinal anesthesia would be lower in patients listening to music with binaural sound than that in patients listening to plain or no music.
Interventions: Patients were randomly assigned to music with binaural sound, plain music, or no music groups. Dexmedetomidine was infused for sedation during surgery. The loading infusion rate was 6 g/kg predicted body weight (PBW)/h, followed by continuous infusion at 0.6 g/kg PBW/hr. Loading was stopped after achieving adequate sedation, defined as the Observer's Assessment of Alertness/Sedation (OAA/S) scale score of 3. Infusion rate was adjusted every 30 min per the OAA/S scale.
Measurements: Primary outcomes were the difference in the dexmedetomidine loading dose adjusted for the patient's PBW between (1) the binaural and plain music groups and (2) the binaural and control groups. Secondary outcomes were the total dose and total loading time of dexmedetomidine; Patient State Index; relative powers of the alpha, theta, and delta bands; recovery from sedation; and patient satisfaction score.
Main results: The final analyses included 184 patients. The PBW-adjusted dexmedetomidine loading dose was significantly lower in patients listening to music with binaural sound (1.15 0.30 g/kg PBW) than that in patients without music (1.33 0.33 g/kg PBW; mean difference, 0.18 g/kg PBW; 95% confidence interval [CI], 0.06 to 0.29; P = 0.002). However, the difference was not statistically significant when compared with the plain music group (1.26 0.36 g/kg PBW; mean difference, 0.11 g/kg PBW; 95% CI, -0.01 to 0.23; P = 0.070). Dexmedetomidine total dose, recovery from sedation, and patient satisfaction score showed no difference among the three groups.
Conclusions: Compared with no music, music with binaural sound reduced the dexmedetomidine loading dose; however, this sedative-sparing effect of binaural sound was not found when compared to plain music.
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