A year of ballet playing cards #34: A triple jig medley (8c)

Image of the free downloadable piano score of triple jigs for ballet class

Click to download the score

You may never need this playing card at all. I can’t remember the last time I was asked for a triple jig, but it was perhaps only once in the last 12 months.  I suspect that it’s one of those dance forms (like the gavotte, or the sarabande) that’s part of the didactic furniture of dance teacher training courses. No-one quite knew what it was for, or why it was there, but it had been in the family for years, and might have belonged to someone’s grandmother, and no-one liked to throw it away. If a teacher asks you for one, you could probably guess within a couple of decades and degrees of latitude and longitude when and where they trained.

For all that, I rather like a triple jig for the sake of variety, but I get hopelessly lost if I try to improvise one. This isn’t the most interesting music around, but you have to understand that there’s so much going on in Irish slip-jigging that you tend not to listen the music (see below). Triple jigs are a good replacement for those quick polonaises/boleros which are too fast for the polonaise that the teacher asked for. However, as a colleague and I were discussing recently, you can’t get away with it: if they asked for a polonaise, they’re going to demand to get what they asked for, like a grumpy diner in a restaurant, even though you’re offering them something just as nice.

Triple jig: the worst of all possible time signatures?

The triple jig is usually in 9/8, which is confusing as a time signature, because you tend to hear 6  beats, not 9, and to confuse matters more, the “triple” suggests (rightly) a kind of 3.  But even more confusingly, they often feel like a kind of additive time signature, 2+1. I can’t remember who pointed this out in an article or book, but I think they’re right.  Another problem is that teachers often remember a particular 9/8, and then ask for “a 9/” as if everything in 9/8 sounded the same. Not so. Here’s one of the most famous 9/8s in the repertoire, the sylph solo from the pas de  from La Syphide – but there’s very little else like it. If you can prove me wrong and find another piece like this, let me know, and I’ll put it in as a joker in the pack.

The “Western” 9/8 is a pretty dull affair, compared to all the things you might do if you have 9 bits of beat  your disposal. Nice as it is, I don’t think Dave Brubeck’s Blue Rondo à la Turk counts as a 9/8 – it’s kind of a four with an extended last beat, or a 3/4 + 3/8. This Armenian piece, by contrast, is another matter:

However, the more I listen to the two pieces side by side, the more possible it seems to hear the sylph differently. If I had more time, I’d strip the audio from the sylph solo, and replace it, perfectly synchronized, with the Armenian music. Both pieces have a gravitational pull to the end of the bar, not the beginning. The Armenian one has a metrical pattern of 4+3+2, but the effect of that last note feels the same to me in both pieces. Here’s my attempt at a mash-up of the two (with the percussion line just indicating the metric groups).