Page:A Dictionary of Music and Musicians vol 4.djvu/190

174 if the general rhythm of the bar indicates four semiquavers to a beat, as in common time, a group of 5, 6, or 7 semiquavers would be made equal to 4 semiquavers, while a group of 8 notes of the value of one beat would of course be written as demisemiquavers; if however the natural grouping of the bar were in threes, as in 9-16 time, a group of 4 or 5 (or sometimes 2) semiquavers would be equal to 3, while a group of 6 would require to be written as demisemiquavers. [ F. T. ]

TRIPLE TIME (Fr. Mésure à trois temps; Ger. Tripeltakt). The rhythm of three beats in a bar, the accent falling on the first beat. In quick tempo this single accent is sufficient, but in slow and expressive movements a second weaker accent is generally required to avoid monotony. This second accent is variously placed by different writers, some assigning it to the second beat (see Hauptmann 'Harmonik und Metrik,' p. 226) while others place it on the third. [, vol. i. p. 12.] The truth appears to be that it may occupy either position according to the requirements of the phrasing. A comparison of the following examples will serve as a proof of this.

When a bar of triple time consists of two notes only the accent is always on the longer note. Compare the first and last bars of the following example:—

The kinds of triple time in general use are marked with the figures 3-8, 3-4, and 3-2, indicating respectively three quavers, crotchets, or minims in a bar. A time of three semiquavers, marked 3-16, is also occasionally met with (Schumann, 'Versteckens,' op. 85); and in old music a time of three semibreves, called tripla major, and indicated by a large figure 3. [For an example of this see vol. iii. p. 766.] When three bars of triple time are united in one, as in 9-8, etc., the time is called 'compound triple.' [See .] [ F. T. ]

TRISTAN UND ISOLDE. An opera; words and music by R. Wagner; completed in 1859, i.e. after the completion of the 'Rheingold' and 'Walküre,' but before that of the other two pieces of the Niblungen Ring. It was produced at Munich, June 10, 1865; in London, at Drury Lane (Franke & Pollini's German Opera), June 20, 1882. Wagner's title for it is 'Tristan und Isolde. Eine Handlung'—an action. [ G. ]

TROCHEE (Lat. Trochæus Chorius). A metrical foot, consisting of a long syllable followed by a short one—the exact opposite of the Iambus:—

Trochaic Metres are very common, both in Hymnody and Lyric Poetry; and, in both, a pleasing variety is sometimes produced by the occasional substitution of a Trochee for a Spondee, an Iambus, or even a Pyrrhic foot. A charming instance of the employment of Trochaic Rhythm, both in Music and Poetry, will be found in the Melody and Verses of Dowland's air, 'Now, oh, now, I needs must part,' the rhythmic Ictus of the Poetry being, of course, dependent upon Accent, and not upon Quantity. [ W. S. R. ]

TROMBA. The Italian word for Trumpet, by which the instrument is usually designated in orchestral scores Trombe in F, Trombe in D, etc. The part is usually written in C, and transposed accordingly by the player. In the scores of Bach, the term Trombe da tirarsi, i.e. 'Slide Trumpets,' is found. [See .] [ G. ]

TROMBA MARINA. A portable monochord played with the bow, probably the oldest bowed instrument known, and the archetype of all others. [See .] The country of its origin is uncertain, but is probably Germany. Once extensively employed in Germany and France as a popular instrument, and even used in the service of the church, it was almost disused early in the last century: but it figured in the 'Musique des Escuries' of the French monarchs, down to the year 1767: and L. Mozart, in his Violin-school (1756), describes it as then in use. It was in use later still in German nunneries, and is still played in at least two, those of Marienstern, near Camenz, and Marienthal near Ostritz, both in Ober Lausitz (kingdom of Saxony).

Most existing specimens date from the latter half of the 17th century. In its latest form the instrument has a fiddle head fitted with an iron screw. Some heads have rack-wheels to facilitate tuning: others have iron screw button tops, a double iron ring working on the screw, into the outer ring of which the string is knotted. It has a round neck or handle about the size of a broomstick, dove-tailed into a top block or shoulder which forms the end of the body. The latter is a resonant box or drum (whence the name Trummscheidt) broadening towards the bottom, where it rests on the ground, and having a thin pine belly, quite flat. The back or shell of the drum is polygonal, being built up of very thin straight staves of maple.