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Updated: May 21, 2025
In the seventeenth century the twelve-eighths time was mainly employed for dance music and, in general, for quick movements; in the beginning of the eighteenth century, on the contrary, this species of time conveyed to people's ears something quite different; it then became the conventional measure for the soft, yearning adagio.
Sherwood said: "I like this piece, there is good honest work in it; it is very effective, and most excellent practise. You ought to play this every day of the year. It is written in twelve-eighths, which give four beats to the measure, but I think that gives it too hard and square a character. I would divide each measure into two parts and slightly accent each.
Händel, in his lively gigs and in his lingering pastoral love arias, gives us side by side both conceptions of twelve-eighths time. In the second half of the century this species of time, so much in vogue formerly, disappears almost entirely. Generally speaking, in the period of Haydn the sense of rhythm undergoes a simplifying process, and many species of time are done away with altogether.
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