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The music was both rhythmic and ordered, now a waltz, now a tune in two-four time, but never faster or slower, and never ending ... except in the middle of each dance, for a brief few seconds, while the patronne collected a sou from each dancer, after which the dance proceeded.
Why, you don't know Common Time!" Sara quaked; only yesterday she had got all tangled up trying to tell the difference between three-four time and two-four time; and she knew Schlorge was wrong and the dreadful creature was right. But Schlorge was beside himself with fury and beyond the reach of fear or reason. "Oh, go on!" he shouted fiercely.
It is always, however, a spirited step, and the music is undoubtedly pretty. The dancing-masters describe the step of a polka as being a "hop, three glides, and a rest," and the music is two-four time. In order to apply the step to the music one must make it in four-eight time, counting four to each measure of the music, each measure taking about a second of time by the watch.
One wonders why the page that finishes his Mémoires is not better known, for it touches the depths of human suffering. At the time when his wife's health was causing him most anxiety, there came to him one night an inspiration for a symphony. The first part of it an allegro in two-four time in A minor was ringing in his head. He got up and began to write, and then he thought,
The langeleik, or Norwegian harp, is a long, narrow, box-like stringed instrument, something of the character of the ancient zither. It has seven strings and sound holes, but its tone is weak and monotonous. The national dances of Norway have bold rythms which at once arrest the attention. Perhaps the most characteristic is the hailing, a solo dance in two-four time.
Over by the turnpike the rival corps of the th Connecticut are pounding out the cheerful strains in which Ireland's favored bard declared he would "Mourn the hopes that leave," little dreaming that British fifes and drums would make it soldier music "two-four time" all the world over.
No wonder, therefore, that Captain König compares conditions below decks to a "veritable hell," and then continues: While in the Gulf Stream we had an outer temperature of 28° Celsius. This was about the warmth of the surrounding water. Fresh air no longer entered. In the engine-room two 6-cylinder combustion motors kept hammering away in a maddening two-four time.
A little thread connects this with the chorale-like introduction of the second theme. The theme is strongly and abruptly modulated, perhaps a little too much so. Tausig tied the little thread to a doppio movimento in two-four time, but thereby resulted sextolets, which threw the chorale into still bolder relief. Then followed a passage a tempo, in which the principal theme played hide and seek.
They strolled with the half-dancing gait of lovers, kicking their feet out sideways or shuffling a dragging jig, and the concrete walk sounded to the broken two-four rhythm. Their voices had a dusky turbulence.
"Two-four," said Meyerbeer, after de Lenz played it. "Three- four," answered Chopin, flushing angrily. "Let me have it for a ballet in my new opera and I'll show you," retorted Meyerbeer. "It's three-four," scolded Chopin, and played it himself. De Lenz says they parted coolly, each holding to his opinion. Later, in St. Petersburg, Meyerbeer met this gossip and told him that he loved Chopin.
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