Joli GadjoJoli Gadjo Cardiff, UK✭✭✭✭ Derecho, Bumgarner - VSOP, AJL
edited April 2011 in Accordion Posts: 542
I see most often the Trio part of most of the traditional musette waltzes I know is either :

the relative major of the A and B parts of the waltz. For example A and B are in Gm, the Trio is in Bb :
cf indifference, Valse a Bamboula... etc

A and B are in Em, the Trio becomes in E : sous le ciel de Paris, Flambee Montalbanaise... etc...

To me it simply sound like a key change. But is there more than that ?
Are there any more ways that Trios are written ?
Can anyone explain this to me ?

- JG


  • brandoneonbrandoneon Alpes-de-Haute-Provence, France✭✭✭
    Posts: 171
    That's an interesting question. Your examples are classics, but there are other waltzes which don't conform to these relative/parallel key changes. Balajo comes to mind (A part in G major; trio in C major), and Rue de la Chine exceptionally goes from an A part in Eb major to a trio in B major! So harmonically speaking, I don't think there are any simple rules, but to me the trio always has the same feeling: a musical passage that is more 'relaxed' than the B part (in terms of placement of triplets and 8th notes, etc.).
    Hope this helps.
  • dulcimistdulcimist New
    Posts: 34
    According to Dregni, the function of trio was largely to give the dancers a chance to catch their breath. It therefore lifted into a major key with a more relaxed feel. Like a clear blue sky after storm.

  • scotscot Virtuoso
    Posts: 655
    Typical musette form is descended from earlier classical forms like the minuet, which contained a trio usually in the relative major or minor key. The third section of a march is also called the trio and likewise is usually in the relative M/m key, and has a more flowing melody line - see "Barnum and Bailey's Favorite" for a textbook example. Basically, trio is just a musical term describing the third section of some forms of music composition. In the Paris dance halls, the trio was typically played slower than the A and B parts to give the dancers a break, but for some reason, it was never done this way in the studio. On the records, each part is played at the same tempo.
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