- Download the triple jig medley piano score (free pdf)
- Read more about my Year of Ballet Playing Cards
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).