time is called "cut-time", indicated by the symbol . (This means common time cut-in-half, hence the name "cut-time"). Marches written in cut-time have a clear upbeat/downbeat feel, which in layman's terms, means a strong "oom-pah" sound is heard. Many cut-time marches use heavy syncopation to create rhythmic interest. Because passing tones in most cases are shorter than marches in a different meter, cut-time marches tend to sound faster. An example of a cut-time march is "Stars and Stripes Forever" by Sousa. time marches are played "in two", meaning the dotted quarter-note gets the beat and there are two of them in a measure. time is used when the composer wants a "triplet" feel in the beat; that is, marches produce a more dance-like, swing beat that is more prominent and exaggerated than its cut-time cousin. A march can be recognized immediately by its common "da-bah-da-bah" or "DA-da-DA-da" sound. An example of a march is "The Washington Post March", also by Sousa. time is much like cut-time, except fewer notes appear in a measure, as here the quarter-note gets the beat instead of the half-note; but there are still only two beats per measure. Marches in time typically are written for the performer as it is easier to read at faster tempos. Many European marches are written in , and almost all American galops as well. Galops are played at a very fast tempo, sounding as if there was one beat to the bar. time marches are rare. However, some slow marches such as dirges use it. Robert Jager uses in his quick march "Stars and Bars".
time is called "cut-time" indicated by the symbol  (this means common time cut-in-half hence the name "cut-time") marches written in cut-time have a clear upbeat/downbeat feel which in layman's terms means a strong "oom-pah" sound is heard many cut-time marches use heavy syncopation to create rhythmic interest because passing tones in most cases are shorter than marches in a different meter cut-time marches tend to sound faster an example of a cut-time march is "stars and stripes forever" by sousa time marches are played "in two" meaning the dotted quarter-note gets the beat and there are two of them in a measure time is used when the composer wants a "triplet" feel in the beat; that is marches produce a more dance-like swing beat that is more prominent and exaggerated than its cut-time cousin a march can be recognized immediately by its common "da-bah-da-bah" or "da-da-da-da" sound an example of a march is "the washington post march" also by sousa time is much like cut-time except fewer notes appear in a measure as here the quarter-note gets the beat instead of the half-note; but there are still only two beats per measure marches in time typically are written for the performer as it is easier to read at faster tempos many european marches are written in  and almost all american galops as well galops are played at a very fast tempo sounding as if there was one beat to the bar time marches are rare however some slow marches such as dirges use it robert jager uses in his quick march "stars and bars"