264), might this option have enabled Graham Parlett to explicate better the composer's curious triplet notation used to indicate a 3/2 hemiola
within a prevailing 12/8 in the Fantasia (mm.
The main ensemble challenges will arise from instances of hemiola
in the second movement.
Boundaries between the types are often blurred, as in Ravel's subtle use of hemiola
in the middle movement of the Concerto.
with its additional hemiola
rhythms and coyly swooning soprano line.
The entire final chapter, which summarizes Ives' use of avant-garde techniques such as cluster glissandos, nonsynchronized accelerando, and polythematic hemiola
, is sufficiently technical as to leave even a few music scholars in left field.
A surprising 30-bar hemiola
brings a delightful creative charm to "Great Is the Lord.
37) A related habit is Faure's way of starting a triple-meter piece with one or even two sounding hemiola
groups: clear examples include the song Clair de lune and the adagio and allegretto sections of his Sixth Nocturne.
These improvisatory elements introduce the student to note values not seen in many teaching pieces such as thirty-second note triplet patterns, rhythmic concepts of the hemiola
(3:2), and thirty-second notes barred with sixteenth notes.
Although he does not neglect local rhythmic issues such as hemiola
, the author is particularly interested in exploring hypermeter--levels of metric organization greater than the notated measure.
Sadler demonstrates that he did not use void notation in quite the same way as Italian composers: to indicate hemiola
or other shifts of accent.
With the increasing popularity of imperfect tempus and prolation, performers or readers of secular music were forced to confront far fewer questions of imperfection or alteration, little to no hemiola
or triplet coloration, and almost no proportions beyond the occasional use of proportio to duplex.
7 that does not fall on a downbeat is nonetheless given metrical stress by hemiola