hemiola


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hemiola

(ˌhɛmɪˈəʊlə) or

hemiolia

n
(Music, other) music a rhythmic device involving the superimposition of, for example, two notes in the time of three. Also called: sesquialtera
[New Latin, from Greek hēmiolia ratio of one to one and a half, from hemi- + (h)olos whole]
hemiolic adj

hem•i•o•la

(ˌhɛm iˈoʊ lə)

n., pl. -las.
a musical rhythmic pattern of syncopated beats with two beats in the time of three or three beats in the time of two.
[1590–1600; < Medieval Latin hēmiolia < Greek hēmiolía the ratio of one and a half to one, feminine of hēmiolíos half as large again]
Translations
emiolia
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References in periodicals archive ?
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.
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 (p.