triple time
triple metre BrE
triple meter AmE

But what in the name of triple time is he driving at?

Its melody, in triple time is set for four parts.

Who's allowing all those tax dollars to be spent on double and triple time?

Several hotels that are not members of the hotel association have agreed to pay triple time.

I'm on triple time, by the way, because this has the authentic feel of an emergency.

It is in a triple time, three strokes to the spike.

The change to triple time in bar 28 distinguishes that section clearly.

I have never come across any situation where a consultant in Scotland is paid triple time to be available on call from home.

It was also a brisk form of music and dance in double or triple time.

This section is in triple time, as is much of the second part.

Does it make any sense at all to require that worker to charge, say, double or triple time?

Also, music in triple time appropriate to the dance.

Her pulse had just gone into triple time and her voice wouldn't come out.

I said couldn't care less if it's triple time I'm not coming in on a Sunday.

The Tube drivers want triple time and an extra day off for working on the bank holiday.

It is in triple time and usually has a triplet on the second beat of each bar.

Together with my triple time step, I figure I've got a birthday dance.

Producers are seeking the entire removal of the triple time penalty.

I get union scale, and triple time on Sundays.

It is then followed by a dance in triple time leading attacca into the final movement.

Unfortunately someone else was trying to impose triple time.

It is named after jota a Spanish dance in triple time.

The three most common footwork variations are single, double, and triple time.

In meter: the first movement is in triple time, the second, double.

My heart throbbed in triple time as I held my breath.

The work is written in a triple metre.

There are many classical works in triple metre.

The few courante tombeaux exploit the same rhythmic features in triple metre.

The song is unusual in that it is in triple metre, with three beats to the bar.

It is usually of a serious character and is often, but not always, based on a bass-ostinato and written in triple metre.

"Go to the Future" was originally an acoustic song, that grew into a triple metre song when the band developed their electronic sound.

Several numbers (vocal and instrumental) combine triple metre and a slow to moderato tempo.

Tunes in triple metre tend to be more lyrical and less martial than those in duple meter.

The key signature is C major and the time signature is a triple metre; it is 39 bars long.

This is a driving triple metre dance which is traditionally accompanied by guitars, castanets and hand clapping.

The second theme is in B minor's parallel major, B major, and in triple metre.

In it Yokota attempts a somewhat unconventional sequence of deep techno arrangements featuring relentless triple metre structures.

This is the only chorale in triple metre in Musicalische Sterbens-Gedancken.

Both are usually in triple metre, begin on the second beat of the Measure (music), and have a theme of four measures (or a close multiple thereof).

The gigues exhibit unusual characteristics: one is written in the typical triple metre, but closes with a refrain in 2/2 time.

Ländler-The Ländler is an Austrian country dance in a slow triple metre, a precursor of the waltz.

Beats at any level must be separated by either one (duple metre) or two (triple metre) beats of the next level down.

Saltarello-The saltarello is a rapid Italian dance in triple metre, examples of which survive from the Middle Ages.

In contemporary pop traditions (Soul, Rap, R&B, Rock) triple metre is much less common but examples do exist.

The sarabande (from French sarabande, itself derived from Spanish zarabanda) is a dance in triple metre.

In the trio, Haydn uses off-beat entries and second-beat sforzandos to disrupt what would otherwise be a regular and conventional triple metre.

Lullabies are usually in triple metre or 6/8 time, giving them a "characteristic swinging or rocking motion," says Sally Goddard Blythe.

The music is characterized by the use of triple metre, sometimes compound duple time, and the lyrics consist of verses in strophic form with intercalated choruses.

They are vocal performances involving rhythmic declamation in triple metre and aggressive or challenging facial expressions (pūkana, literally "glaring"), body movements and demeanour.

The music is in triple meter and fairly slow.

The song is written in four verses and a bridge, using a complex triple meter.

They are both are performed in the triple meter.

Fast note values and triple meter were not allowed to detract from the purity of style.

This is a quick dance in triple meter with hemiolas at the beginning of the phrase.

It may, for example, indicate a bar of triple meter in which each beat is subdivided into five parts.

The song is a mid-tempo in triple meter, accompanied by electric guitar.

It is characterized by a triple meter and strong accents placed irregularly on the second or third beat.

It is not in triple meter, nor is it a lively march.

Well, it turns out they're going to do the same thing, over and over, with occasional digressions into triple meter.

It is a lively dance in triple meter and stylistically refers back to the baroque period.

It employs triple meter and although not printed, appears to be shifting between 3/4 and 6/8.

He scored it in duple meter rather than its standard triple meter.

The first melody is in triple meter.

Mazurka is a Polish folk dance in triple meter.

Triple meter is maintained throughout this section.

The first movement begins with a large, soaring theme, featuring a propulsive rhythm in fast triple meter.

Otherwise it is typically in triple meter.

It breaks from the usual triple meter, and it groups together unusual lengths of phrases.

The chorus then returns to triple meter for the final section, which includes two four-part fugati.

In a triple meter, the tourdion's relation to the galliard was "more rapid and smooth than the other".

Though the Gloria swept by in a joyous triple meter, the chorus and orchestra played with articulate clarity.

The trio is much more relaxed and retains the triple meter feel throughout, with less hemiola interruption.

After this, the tempo changes into a triple meter where the first theme undergoes a series of contrapuntal treatments.

A mazurka is a Polish dance in triple meter with the second beat accentuated, though exactly how is a matter of debate.